Idiot's Guides® 的封面图片:犹太教

没有人喜欢万事通。我们大多数人都意识到不存在这样的事情——怎么会有呢?世界太复杂了,一个人无法理解所有需要知道的事情。因此,当你遇到一个无所不知的人时,当他们喋喋不休时,你会对自己微笑,因为你知道得更多。

No one likes a know-it-all. Most of us realize there’s no such thing—how could there be? The world is far too complicated for someone to understand everything there is to know. So when you come across a know-it-all, you smile to yourself as they ramble on because you know better.

你知道对知识的追求是永无止境的,你也同意这一点。你不想知道一切,只想知道下一件事。你知道自己不知道什么,你有足够的信心去承认它,并且你有动力去做一些事情。

You understand that the quest for knowledge is a never-ending one, and you’re okay with that. You have no desire to know everything, just the next thing. You know what you don’t know, you’re confident enough to admit it, and you’re motivated to do something about it.

《白痴指南》中,我们也知道我们不知道的事情,并且我们以找出答案为己任。我们找到真正聪明的人,他们都是各自领域的专家,然后我们卷起袖子开始工作,提出很多问题,并认真思考如何以最简单、最容易获得的方式最好地将他们的知识传授给您可能的。

At Idiot’s Guides, we, too, know what we don’t know, and we make it our business to find out. We find really smart people who are experts in their fields and then we roll up our sleeves and get to work, asking lots of questions and thinking long and hard about how best to pass along their knowledge to you in the easiest, most-accessible way possible.

毕竟,这是我们的承诺——让您想学的任何东西“变得尽可能简单”。这意味着为您提供组织良好的设计,无缝、轻松地引导您从一页到另一页、从一个主题到另一个主题。这意味着控制你吸收新信息的速度——不要一次太多,而只是你现在需要知道的信息。这意味着给你一个从简单到更困难的清晰的进展。这意味着在必要时为您提供更多指导步骤,以真正解释细节。这意味着在更适合展示而不是讲述的地方为您提供更少的文字和更多的插图。

After all, that’s our promise—to make whatever you want to learn “As Easy as It Gets.” That means giving you a well-organized design that seamlessly and effortlessly guides you from page to page, topic to topic. It means controlling the pace you’re asked to absorb new information—not too much at once but just what you need to know right now. It means giving you a clear progression from easy to more difficult. It means giving you more instructional steps wherever necessary to really explain the details. And it means giving you fewer words and more illustrations wherever it’s better to show rather than tell.

所以你现在正处于新事物的开始。您的探索的下一章。这可能是一个令人生畏的地方,但您以前来过这里,我们也来过。理清思绪并翻过这一页。读完本书后,您将不再是万事通,但您的世界将比以前稍微简单一些。我们将确保您的旅程尽可能轻松。

So here you are, at the start of something new. The next chapter in your quest. It can be an intimidating place to be, but you’ve been here before and so have we. Clear your mind and turn the page. By the end of this book, you won’t be a know-it-all, but your world will be a little less complicated than it was before. And we’ll be sure your journey is as easy as it gets.

迈克·桑德斯 (Mike Sanders) 《白痴指南》

出版商

Mike Sanders

Publisher, Idiot’s Guides









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内容

Contents

第 1 部分:音调

Part 1: Tones

1 音高和谱号

1 Pitches and Clefs

了解音乐音调

Understanding Musical Tones

音调有价值

Tones Have Value

调频

Tuning Into a Frequency

按数字玩

Play by Numbers

多瑞米

Do Re Mi

音调有名字

Tones Have Names

学习 ABC

Learning the ABCs

钢琴键盘上的音符

Notes on a Piano Keyboard

员工须知

Notes on a Staff

员工之上和之下

Above—and Below—the Staff

不同的谱号

Different Clefs

高音谱号

The Treble Clef

低音谱号

The Bass Clef

伟大的员工

The Grand Staff

专业谱号

Specialty Clefs

打击乐谱号

The Percussion Clef

练习

Exercises

2 间隔

2 Intervals

要么尖锐,要么平坦

Be Sharp—or Be Flat

走出去

Steppin’ Out

程度问题

A Matter of Degrees

要事第一

First Things First

大调和小调音程

Major and Minor Intervals

完美的间隔

Perfect Intervals

增加和减少间隔

Augmented and Diminished Intervals

超越八度

Beyond the Octave

音程和半步

Intervals and Half Steps

模组12

Mod-12

练习

Exercises

小调音阶

Minor Scales

自然未成年人

Natural Minor

和声小调

Harmonic Minor

旋律小调

Melodic Minor

在模式中

In the Mode

爱奥尼亚

Ionian

多利安

Dorian

弗里吉亚语

Phrygian

吕底亚语

Lydian

混合吕底亚语

Mixolydian

风神

Aeolian

洛克里安

Locrian

练习

Exercises

4 个大调和小调

4 Major and Minor Keys

成功的关键

Keys to Success

使用调号

Using Key Signatures

确定调号

Determining the Key Signature

大调

Major Keys

小调

Minor Keys

五度圈

The Circle of Fifths

意外将会发生

Accidents Will Happen

更改按键

Changing Keys

练习

Exercises

第 2 部分:节奏

Part 2: Rhythms

5 音符值和基本符号

5 Note Values and Basic Notation

衡量事物

Taking the Measure of Things

做笔记——笔记

Taking Note—of Notes

完整笔记

Whole Notes

半音符

Half Notes

四分音符

Quarter Notes

八分音符

Eighth Notes

十六分音符

Sixteenth Notes

计数

Taking Count

小憩一下

Taking a Rest

记下笔记并加以点缀

Taking a Note—and Dotting It

记下两个笔记并将它们绑在一起

Taking Two Notes—and Tying Them Together

抓住节拍并除以三

Taking the Beat and Dividing by Three

练习

Exercises

6 个拍号

6 Time Signatures

测量节拍

Measuring the Beats

四分音符时间

Quarter-Note Time

八分音符时间

Eighth-Note Time

中场休息

Half Time

改变时间

Changing the Time

对节拍进行分组

Grouping the Beats

练习

Exercises

7 节奏、动态和导航

7 Tempo, Dynamics, and Navigation

把脉

Taking the Pulse

每分钟节拍数

Beats per Minute

意大利语节奏术语

Italian Tempo Terms

加速和减速

Speeding Up—and Slowing Down

请注意!

Hold That Note!

变得大声——又变得柔和

Getting Loud—and Getting Soft

动态标记

Dynamic Markings

动态变化

Changing Dynamics

玩得更努力

Play It Harder

找到你的路

Finding Your Way

重复部分

Repeating Sections

重复措施

Repeating Measures

重复笔记

Repeating Notes

重复休息

Repeating Rests

练习

Exercises

第三部分:曲调

Part 3: Tunes

8首旋律

8 Melodies

结合音调和节奏

Combining Tones and Rhythms

常用旋律技巧

Common Melodic Techniques

德沃夏克新世界交响曲

Dvořák’s New World Symphony

巴赫G 大调小步舞曲

Bach’s Minuet in G

“迈克尔,把船划到岸上”

“Michael, Row the Boat Ashore”

帕赫贝尔的D 大调卡农

Pachelbel’s Canon in D

旋律形式的基石

The Building Blocks of Melodic Form

主题

The Motif

旋律短句

The Short Melodic Phrase

长旋律乐句

The Long Melodic Phrase

创作你的第一首旋律

Composing Your First Melody

练习

Exercises

9 和弦

9 Chords

形成和弦

Forming a Chord

不同类型的和弦

Different Types of Chords

大和弦

Major Chords

小和弦

Minor Chords

减和弦

Diminished Chords

增强和弦

Augmented Chords

和弦扩展

Chord Extensions

七度

Sevenths

其他扩展

Other Extensions

改变和弦、悬念和弦和强力和弦

Altered, Suspended, and Power Chords

改变和弦

Altered Chords

悬念和弦

Suspended Chords

强力和弦

Power Chords

颠倒顺序

Inverting the Order

为您的音乐添加和弦

Adding Chords to Your Music

练习

Exercises

10 和弦进行

10 Chord Progressions

音阶中每个音符的和弦

Chords for Each Note in the Scale

创造一个进步

Creating a Progression

一切都是为了回家

It’s All About Getting Home

一个好的和弦会带来另一个好的和弦

One Good Chord Leads to Another

结束一个短语

Ending a Phrase

完美节奏

Perfect Cadence

普拉伽节奏

Plagal Cadence

不完美的节奏

Imperfect Cadence

节奏中断

Interrupted Cadence

常见和弦进行

Common Chord Progressions

Ⅰ-Ⅳ

I-IV

四号

I-V

一-四-五

I-IV-V

一-四-五-四

I-IV-V-IV

IV-vi-IV

I-V-vi-IV

I-ii-IV-V

I-ii-IV-V

Ⅰ-Ⅱ-Ⅳ

I-ii-IV

Ⅰ-vi-ii-V

I-vi-ii-V

I-vi-IV-V

I-vi-IV-V

I-vi-ii-V7-ii

I-vi-ii-V7-ii

四-一-四-五

IV-I-IV-V

ii-VI

ii-V-I

五度圈进阶

Circle of Fifths Progression

五度半音圈

Chromatic Circle of Fifths

唱布鲁斯

Singing the Blues

和弦与旋律

Chords and Melodies

将和弦与旋律相匹配

Fitting Chords to a Melody

和弦写作技巧

Chord Writing Tips

为和弦进行编写旋律

Writing a Melody to a Chord Progression

练习

Exercises

11 短语和形式

11 Phrases and Forms

歌曲的部分

Parts of a Song

介绍

Introduction

Verse

合唱

Chorus

Bridge

结尾

Ending

把它们放在一起

Putting It All Together

锻炼

Exercise

第四部分:陪伴

Part 4: Accompanying

12 抄写你所听到的

12 Transcribing What You Hear

训练你的耳朵

Training Your Ear

积极倾听

Listening—Actively

培养超级听力

Developing Super Hearing

听觉音调

Hearing Pitch

听力间隔

Hearing Intervals

听觉节奏

Hearing Rhythms

聆听旋律

Hearing Melodies

听力键

Hearing Keys

听和弦和和弦进行

Hearing Chords and Chord Progressions

全部写下来

Writing It All Down

练习

Exercises

13 伴奏旋律

13 Accompanying Melodies

分数是多少?

What’s the Score?

从铅表开始工作

Working from a Lead Sheet

从和弦表开始工作

Working from a Chord Sheet

从旋律开始工作

Working from a Melody

从零开始工作

Working from Nothing

处理表格

Working the Form

扮演好角色

Playing the Part

块和弦伴奏

Block Chord Accompaniment

节奏伴奏

Rhythmic Accompaniment

琶音伴奏

Arpeggiated Accompaniment

移动贝斯

Moving Bass

一次好的弹奏值得另一次弹奏

One Good Strum Deserves Another

练习

Exercises

14 移调至其他调

14 Transposing to Other Keys

移动你的笔记

Move Your Notes Around

为什么需要转置

Why You Need to Transpose

四种移调方法

Four Ways to Transpose

逐步换位

Step-Wise Transposition

度数转置

Degree-Wise Transposition

基于区间的转置

Interval-Based Transposition

基于软件的转置

Software-Based Transposition

练习

Exercises

第五部分:装饰

Part 5: Embellishing

15 和声与对位法

15 Harmony and Counterpoint

增强旋律的两种方法

Two Ways to Enhance a Melody

和谐生活

Living in Harmony

发声和转位

Voicing and Inversions

使和声部分更加旋律化

Making Harmony Parts More Melodic

语音引导

Voice Leading

用对位表达观点

Making a Point—with Counterpoint

成功对位的关键

Keys to Successful Counterpoint

创建你的第一个对位

Creating Your First Counterpoint

应避免什么

What to Avoid

练习

Exercises

16 和弦替换和转换

16 Chord Substitutions and Turnarounds

延伸美好事物

Extending a Good Thing

改变低音

Altering the Bass

两个和弦比一个和弦更好

Two Chords Are Better Than One

一个好的和弦可以替代另一个

One Good Chord Can Replace Another

全音阶替换

Diatonic Substitution

主要和弦替换

Major Chord Substitutions

小调和弦替换

Minor Chord Substitutions

占主导地位的第七替补

Dominant Seventh Substitutions

功能替代

Functional Substitutions

扭转局面

Turnarounds

练习

Exercises

17 特殊符号

17 Special Notation

投掷曲线

Throwing a Curve

领带

Ties

圆滑线

Slurs

短语

Phrases

长与短

The Long and the Short of It

特努托

Tenuto

断奏

Staccato

什么时候笔记不仅仅是笔记?

When Is a Note More Than a Note?

优雅音符

Grace Notes

转弯

Turns

颤音

Trills

滑音

Glissandi

琶音和弦

Arpeggiated Chords

进入事物的摇摆

Getting Into the Swing of Things

得到这个词

Getting the Word

练习

Exercises

古典形式

Classical Forms

蓝调和爵士乐

Blues and Jazz

布鲁斯

The Blues

爵士乐

Jazz

流行音乐

Popular Music

练习

Exercises

19 创作自己的音乐

19 Composing Your Own Music

如何成为一名作曲家

How to Become a Composer

不同的构图方法

Different Approaches to Composition

学习如何创作自己的音乐

Learning How to Write Your Own Music

用和弦作曲

Composing with Chords

使用和弦引导

Using Chord Leading

建立和谐的节奏

Establishing a Harmonic Rhythm

让旋律适合你的和弦

Fitting Melodies to Your Chords

创作令人难忘的旋律

Making Memorable Melodies

球场中心

Center on a Pitch

确保您最终在家

Make Sure You End Up at Home

进入五声音阶

Go Pentatonic

找到钩子

Find the Hook

创建变体

Create Variations

让它动起来

Make It Move

采取小步骤

Take Small Steps

留在范围内

Stay in Range

建立并解决紧张局势

Set Up—and Resolve—Tension

跟随言语

Follow the Words

将和弦与旋律相匹配

Fitting Chords to a Melody

尝试显而易见的

Try the Obvious

使用旋律大纲

Use the Melodic Outline

向后工作

Work Backward

练习

Exercises

20 编配声音和乐器

20 Arranging for Voices and Instruments

声乐编曲

Vocal Arranging

声音特征

Voice Characteristics

音域

Vocal Ranges

器乐编曲

Instrumental Arranging

仪器特性

Instrument Characteristics

换位

Transposition

好钥匙和坏钥匙

Good Keys and Bad Keys

选择编曲乐器

Choosing Instruments for an Arrangement

常见的合奏

Common Ensembles

唱诗班

Choir

交响乐团

Symphonic Orchestra

室内乐团

Chamber Orchestra

弦乐团

String Orchestra

弦乐四重奏

String Quartet

音乐会乐队

Concert Band

军乐队

Marching Band

大乐队(爵士乐队)

Big Band (Jazz Band)

摇滚乐队(节奏部分)

Rock Band (Rhythm Section)

练习

Exercises

21 乐谱和乐谱

21 Lead Sheets and Scores

按照规则

Follow the Rules

率先

Take the Lead

让它变得简单

Make It Simple

和弦表

Chord Sheets

纳什维尔数字系统

The Nashville Number System

大声唱

Sing It Loud

为大乐队演奏爵士乐

Jazz It Up for Big Bands

组建(音乐会)乐队

Strike Up the (Concert) Band

为交响乐团谱写大乐章

Make the Big Score—for the Symphonic Orchestra

使用电脑

Use the Computer

锻炼

Exercise

结尾

Coda

附录

Appendixes

词汇表

A Glossary

B 乐理视唱练耳课程

B Music Theory Ear Training Course

C 章练习答案

C Answers to Chapter Exercises

介绍

Introduction

当我上高中和大学时(很久以前,而且时间一天比一天长),我的许多(如果不是大多数)同学都认为音乐理论只比听油漆干稍微有趣一点。我以前不同意这个观点,现在仍然不同意。我认为音乐理论很有趣,是任何严肃音乐教育的重要组成部分。

Back when I was in high school and college (a long time ago, and getting longer every day), many, if not most, of my fellow students regarded music theory as only slightly more fun than listening to paint dry. I didn’t share that opinion, and still don’t; I think music theory is interesting and fun and an essential part of any serious music education.

不过,如果您生活的唯一目的就是每天 24 小时演奏乐器(或唱歌),那么从练习中抽出时间在纸上移动一堆音符可能就不那么有吸引力了。事实上,我认为入门级音乐理论课程是大学音乐学校中第二大被跳过的课程,只有音乐历史课程不太受欢迎。(一些有进取心的人必然会将这两门课程合并成一门“音乐史理论”或“音乐理论史”课程,从而使学生的冷漠程度达到新的水平。)

Still, if all you live for is to play your instrument (or to sing) 24 hours a day, taking time out from practicing to move a bunch of notes around on paper might not be tremendously appealing. In fact, I believe introductory-level music theory classes are the second most-skipped classes in college music schools, with only music history classes being less well received. (Some enterprising soul is bound to combine the two classes into a “Theory of Music History”—or “History of Music Theory”—course, thus creating new levels of student apathy.)

我不知道为什么这么多崭露头角的音乐家如此轻视理论。也许是因为它的呈现方式。(让我们面对现实吧:有些教师在讲授这些材料时可能相当无聊,而且大多数音乐教科书都枯燥无味。)也许这是因为音乐理论类似于句子图解和其他沉闷的语法相关内容。我不知道; 也许对某些人来说,这似乎是很多工作。

I’m not sure why so many budding musicians are so down on theory. Maybe it’s because of the way it’s presented. (Let’s face it: Some instructors can be fairly boring when they present this material, and most music textbooks are stultifyingly dull.) Maybe it’s because of the way music theory resembles sentence diagramming and other dreary grammar-related stuff. I don’t know; maybe to some people, it just seems like a lot of work.

但事实仍然是:每个音乐家都需要了解一些音乐理论。这是一个大胆的声明,但您可能会提出异议。毕竟,你已经在不了解理论的情况下完成了音乐研究——为什么你现在需要开始学习理论呢?

But the fact remains: every musician needs to know some music theory. That’s a bold statement, and one that you might take issue with. After all, you’ve gotten this far in your music studies without knowing theory—why do you need to start studying theory now?

音乐理论很重要

Music Theory Is Important

大多数音乐家,如果他们想与其他音乐家交流——在乐队中演奏,或教他们歌曲——至少必须了解音乐如何运作的基础知识。这些基础知识——音符、和弦等等——就是我们所说的音乐理论。

Most musicians, if they want to communicate with other musicians—to play in a band, or teach them their songs—have to know at least the basics about how music works. These basics—notes, chords, and so on—are what we call music theory.

音符和和弦是音乐语言的基石。音乐理论定义了将这些块安排成歌曲和作品的多种不同方式。没有理论,你所拥有的只是噪音;应用音乐理论,您可以创造出伟大的艺术作品。

Notes and chords are the building blocks of the language of music. Music theory defines the many different ways you can arrange those blocks into songs and compositions. Without the theory, all you have is noise; applying music theory, you can create great works of art.

音乐家每次坐下来演奏或唱歌时都会应用音乐理论——无论他们是否知道。当您阅读一首音乐时,您正在使用音乐理论。当您写下一系列音符时,您正在使用音乐理论。当您演奏和弦时,您正在使用音乐理论。当你唱和声时,你正在使用音乐理论。

Musicians apply music theory every time they sit down to play or sing—whether they know it or not. When you read a piece of music, you’re using music theory. When you write down a series of notes, you’re using music theory. When you play a chord, you’re using music theory. When you sing a harmony line, you’re using music theory.

即使没有受过任何正规训练的音乐家也会使用音乐理论。当他们把手放在钢琴上时,他们可能不知道自己正在演奏大九和弦和低音第四和弦,但他们确实知道这些音符配合得很好,即使他们不能告诉你为什么,或严格的和弦结构。

Even musicians who don’t have any formal training use music theory. When they put their hands on the piano, they might not know that they’re playing a major ninth chord with the fourth in the bass, but they do know that those notes fit together well, even if they can’t tell you why, or the strict chord construction.

现在,如果他们确实接受过正式培训,他们不仅可以演奏音符,还可以与其他人分享这些音符。他们实际上可以用全世界音乐家普遍理解的格式将音符和和弦写在纸上,而不是指着手指说“弹奏这个”。毕竟,告诉某人弹奏 CM9/F 和弦比说“把你的食指放在这里,把你的中指放在这里”等等要容易得多。

Now, if they did have formal training, they could go beyond just playing the notes to sharing those notes with others. Instead of pointing at their fingers and saying “play this,” they could actually write their notes and chords down on paper, in a format universally understood by musicians the world over. After all, it’s a lot easier to tell someone to play a CM9/F chord than it is to say “put your first finger here, and your second finger here,” and so on.

了解不同音符如何协同工作还可以帮助您扩展当前正在演奏的简单旋律。当您了解理论时,您就知道如何用和弦来伴奏旋律以及如何发音这些和弦,以便它们听起来听起来不错。您还可以学习如何将简单的旋律转变为成熟的声音和乐器组编曲,以及如何创建自己的旋律和作品。

The knowledge of how different notes work together also helps you expand on the simple melodies you’re currently playing. When you know theory, you know how to accompany a melody with chords and how to voice those chords so that they sound good to your ears. You also can learn how to turn that simple melody into a full-blown arrangement for groups of voices and instruments, and how to create your own melodies and compositions.

没有基本的乐理知识,你就无法充分表达你的音乐想法;您也无法与他人分享这些想法。

Without a knowledge of basic music theory, you won’t be able to fully express your musical ideas; nor will you be able to share those ideas with others.

音乐理论很有用

Music Theory Is Useful

当然,不仅仅是专业音乐家需要了解理论。即使您只是为了个人享受而演奏音乐或唱歌,理论知识也会帮助您更好地欣赏它。

Of course, it isn’t just professional musicians who need to know theory. Even if you’re just playing music or singing for your own personal enjoyment, a knowledge of theory will help you better appreciate it.

举个例子:假设您在女儿的学校帮忙,有人知道您是音乐家,请您为即将举行的学校选美活动编排“玛丽有一只小羔羊”。班上有两个女孩和一个男孩唱歌都很好,还有一个男孩会吹小号。你将用吉他为他们伴奏。

Here’s an example: let’s say you’re helping out at your daughter’s school and someone, knowing that you’re a musician, asks you to work up an arrangement of “Mary Had a Little Lamb” for the upcoming school pageant. There are two girls and one boy in the class who sing pretty well, and another boy who knows how to play trumpet. You’ll accompany them on guitar.

这听起来并不是一个艰巨的任务,但它确实需要大量的理论才能完成!首先,您需要知道如何阅读和创作音乐,其中包括谱号、调号和拍号的知识。然后您需要了解和弦和和弦进行以及如何创建和声和对位法。您还需要知道如何为不同的声音和乐器编排音乐,甚至如何将音乐从一个调移调到另一个调。(那是因为小号以与其他人不同的音调来读取音乐。)

This doesn’t sound like a tall order, but it does require a lot of theory to complete! First of all, you need to know how to read and write music—which includes the knowledge of clefs and keys and time signatures. Then you need to know about chords and chord progressions and how to create harmonies and counterpoint. You also need to know how to arrange music for different voices and instruments, and even how to transpose music from one key to another. (That’s because the trumpet reads music in a different key from everybody else.)

你看到问题所在了。如果您不了解自己的理论,您将无法完成这个相当简单的作业。就这么简单。

You see the problem. If you don’t know your theory, you won’t be able to complete this rather simple assignment. It’s as simple as that.

当您了解音乐背后的理论时,演奏和唱歌就会变得更加有趣。有了一点理论基础,就更容易理解为什么某些旋律比其他旋律更有吸引力,以及为什么某些和弦进行与某些旋律配合得更好。您将了解和声的运作方式,这对于您在背景音乐中唱歌或用钢琴或吉他为某人伴奏非常有帮助。您甚至可以为您的合唱团或乐队编曲音乐,或者创作自己的作品。

When you know the theory behind the music, playing and singing gets a lot more interesting. With a little grounding in theory, it’s easier to understand why some melodies are more appealing than others, and why certain chord progressions work better with certain melodies. You’ll see how harmony works, which will really help if you’re singing background or accompanying someone on piano or guitar. You’ll even be able to arrange music for your choir or band, or to create your own compositions.

这是最精彩的部分:音乐理论并不难。一旦你学会了基本的音符和音阶,其余的就相当容易了。毕竟,和弦只是三个音符一起演奏。仅此而已——只有三个音符。一首歌只不过是一系列串联在一起的几个和弦,以及一段旋律——这只是一系列连续的音符。弄清楚什么去哪里(以及哪些音符组合在一起听起来不错)就是理论的全部内容。

And here’s the neat part: music theory isn’t hard. Once you learn the basic notes and scales, the rest falls together fairly easily. After all, a chord is just three notes played together. That’s all—just three notes. And a song is nothing more than a few chords strung together in a series, along with a melody—which is just a series of notes all in a row. Figuring out what goes where (and which notes sound good together) is what theory is all about.

音乐理论适合非音乐家

Music Theory Is for Nonmusicians

音乐理论也不仅仅适合音乐家。许多听众对音乐是如何创作的感到好奇。是什么让一首特定的歌曲如此特别?为什么有些音乐听起来令人振奋,而另一些音乐听起来却很悲伤?当你的音乐家朋友说“很酷的改变”或“把这个占三分之一”之类的话时,他们在谈论什么?

Music theory isn’t just for musicians, either. A lot of listeners out there are curious about how music is created. Just what makes a particular song so special? Why does some music sound uplifting, and other music sound sad? And just what are your musician friends talking about when they say things like “cool changes” or “take this up a third”?

你不必是一名音乐学生才能对音乐的运作方式感兴趣,就像你不必拥有文学学位才能对单词和句子如何组合感兴趣一样。基础音乐理论适合任何对音乐感兴趣的人;你知道的越多,你就越能欣赏你所听的音乐。

You don’t have to be a music student to be interested in how music works—just as you don’t have to have a literature degree to be interested in how words and sentences fit together. Basic music theory is for anyone who is interested in music; the more you know, the more you can appreciate the music that you listen to.

音乐理论与我

Music Theory and Me

学习音乐理论有很多不同的方法。您的学校可能有您可以参加的音乐理论课程。您的音乐老师也可能会教授一些理论,或者认识一位可以与您一起学习的私人老师。或者你可以像我一样学习理论:自己从书本上学习。

There are many different ways to learn music theory. Your school might have music theory classes you can take. Your music teacher also might teach a little theory, or know a private teacher you can study with. Or you can learn theory the way I did: by yourself, from a book.

当我八年级时,我自学了音乐理论。我的初中有通常的普通音乐课,还有合唱团和乐队,但没有任何理论课。因此,因为我想为我所在的乐队编曲一些歌曲,所以我必须自学编曲背后的理论。

I taught myself music theory back when I was in eighth grade. My junior high school had the usual general music classes, as well as choir and band, but didn’t have any theory classes. So, because I wanted to arrange some tunes for a band I was in, I had to teach myself the theory behind the arranging.

我的理论教育来自于大量的尝试和错误,来自两本书:迪克·格罗夫的《编曲概念:舞台乐队合奏编曲写作指南》(1972年)和大卫·贝克的《小型合奏团编曲与作曲》(1970年)。这两本书至今仍在印刷(但版本较新),并且仍然像当时一样有价值。我建议你检查一下。

My theory education came from a lot of trial and error, and from two books: Dick Grove’s Arranging Concepts: A Guide to Writing Arrangements for Stage Band Ensembles (1972) and David Baker’s Arranging and Composing for the Small Ensemble (1970). Both of these books are still in print today (but in newer editions), and still as valuable as they were back then. I recommend you check them out.

现在,如果你看看这些书的书名,你会发现它们确实与基础音乐理论没有任何关系。当然,书中有理论,但你确实必须阅读字里行间(可以这么说)才能将其拉出来。那时我愿意献出我的右手,换取一本专注于初级理论、写在我能理解的水平上的书。

Now, if you look at the titles of those books, you’ll see that they really don’t have anything to do with basic music theory. There’s theory in the books, of course, but you really have to read between the lines (so to speak) to pull it out. I would have given my right arm back then for a book that focused on beginning-level theory, written at a level that I could comprehend.

好吧,30 年后,我写了那本书。

Well, 30 years later, I wrote that book.

这真有趣。在我的初中和高中时期,我是一位相当认真的音乐家,并继续就读著名的印第安纳大学音乐学院,其音乐学院的音乐水平更高。著名的爵士乐研究项目。但一路走来,事情发生了变化,我最终从印第安纳大学毕业,获得了商业学位,几年后发现自己在图书出版行业工作。在企业界工作一段时间后,我成为一名全职作家,撰写有关各种主题的书籍,从计算机到商业管理再到家庭影院系统。

It’s interesting. I was a fairly serious musician throughout my junior high and high school years, and went on to attend the prestigious Indiana University School of Music, in its even more prestigious jazz studies program. But something shifted along the way, and I ended up graduating IU with a business degree, and found myself some years later working in the book publishing industry. After serving my time in the corporate world, I became a full-time writer, writing books about all manner of topics, from computers to business management to home theater systems.

然后,在 2000 年,我被要求写一本音乐书——《白痴打鼓完全指南》(在你附近的书店有售)。事情终于回到了原点,我正在写很多年前我所热爱和生活的音乐。

Then, in 2000, I was asked to write a music book—The Complete Idiot’s Guide to Playing Drums (available at a bookstore near you). Things had finally come full circle, and I was writing about the music that I loved, and lived, so many years ago.

那本书促使我写了其他音乐书籍,其中最主要的是你手中的那本——《白痴指南:音乐理论》。这本书的第一版于 2002 年出版,一夜成名,成为有史以来最畅销的音乐理论书籍之一,全球销量超过 250,000 册。我仍然对这本书如此受欢迎感到惊讶,并感谢帮助它取得如此成功的数十万读者。我很高兴有机会向新听众介绍音乐的乐趣——我希望以一种易于理解、相当全面且有些实用的方式。我很高兴向大家介绍这本书的更新第三版,该书通过包含在线音乐理论耳朵训练课程而变得更加有用。

That book led to my writing other music books, chief of which is the one you hold in your hands—Idiot’s Guides: Music Theory. The first edition of this book, published in 2002, became an overnight success—one of the best-selling music theory books of all time, with more than 250,000 copies sold worldwide. I’m still amazed at how well this book has been received, and am grateful to the hundreds of thousands of readers who helped to make it so successful. I’m glad to have had the opportunity to introduce a new audience to the joys of music—in, I hope, a manner that is easy to follow, reasonably comprehensive, and somewhat practical. And I’m pleased to present this updated third edition of the book, made even more useful by the inclusion of the Music Theory Ear Training Course online.

就本书本身而言,《白痴指南:音乐理论》第三版旨在成为任何希望学习音乐理论的人的自学工具。这本书从基本的音符和节奏开始;通过音阶、旋律、和弦和和声进步;最后提供有关伴奏、编曲和指挥音乐的宝贵信息。简而言之,它为任何水平的音乐家提供了您需要了解的有关音乐理论的几乎所有内容。

As to the book itself, Idiot’s Guides: Music Theory, Third Edition, is designed to be a self-teaching tool for anyone wishing to learn music theory. The book starts with basic notes and rhythms; advances through scales, melodies, chords, and harmony; and ends with valuable information about accompanying, arranging, and conducting your music. In short, it presents pretty much everything you’ll need to know about music theory—for musicians of any level.

当然,我总是建议和好老师一起学习。即使您正在阅读本书,您也可以通过从真人那里获得的实践指导来补充这些页面中的材料,从而学到更多知识。对我来说,这确实是两全其美:自定进度的学习,同时与优秀的音乐理论老师互动。

Of course, I always recommend studying with a good teacher. Even if you’re reading this book, you can learn even more by supplementing the material in these pages with the hands-on instruction you can get from a real human being. To me, that’s really the best of both worlds: self-paced study accompanied by interaction with a good music theory instructor.

您将在本书中找到什么

What You’ll Find in This Book

无论您决定学习什么,我都希望本书中的信息对您有用。我对材料的安排方式是这样的,即使你对音乐或音乐理论一无所知,你也可以从第一页开始,逐步阅读这本书,从基础知识转向更高级的概念。如果您确实了解一些理论,则可以跳过您已经了解的章节,直接学习您想要学习的新材料。而且,一旦您学会了需要了解的内容,您仍然可以使用本书作为参考,查找那些您似乎永远无法记住的音阶或和弦。

However you decide to learn, I hope you find the information in this book useful. I’ve arranged the material in such a way that even if you know nothing about music or music theory, you can start on page one and progress through the book, moving from the basics to more advanced concepts. If you do know some theory, you can skip those chapters that you already know and go right to the new material you want to learn. And, once you’ve learned what you need to know, you can still use this book as a reference, to look up those scales or chords that you never can seem to remember.

《白痴指南:音乐理论》第三版由 21 章组成,每一章都呈现音乐理论的不同方面。这些章节分为六个一般部分,如下所示:

Idiot’s Guides: Music Theory, Third Edition, is composed of 21 chapters, each of which presents a different aspect of music theory. The chapters are organized into six general parts, as follows:

第 1 部分“音调”让您开始阅读乐谱。您将了解钢琴上的音符、不同音符之间的音程以及这些音符如何组合成不同的音阶。您还将了解大调和小调的谱号和调。

Part 1, Tones, gets you started with reading music. You’ll learn about the notes on a piano, the intervals between different notes, and how those notes combine into different scales. You’ll also learn about clefs and keys—both major and minor.

第 2 部分“节奏”向您展示如何在空间中按顺序排列音符。您将学习如何计数以及如何使用全音符、二分音符、四分音符等为您的音乐记谱。您还将了解不同的拍号、节奏、动态、重音和其他音乐效果。

Part 2, Rhythms, shows you how to arrange your notes sequentially in space. You’ll learn how to count and how to notate your music, using whole notes, half notes, quarter notes, and more. You’ll also learn about different time signatures, and about tempo, dynamics, accents, and other musical effects.

第 3 部分,曲调,帮助您结合音调和节奏来创作您自己的旋律。您将学习旋律和和弦的构成方式;您还将了解和弦进行和不同的歌曲形式。

Part 3, Tunes, helps you combine tones and rhythms to create your own melodies. You’ll learn how melodies and chords are constructed; you’ll also learn about chord progressions and different song forms.

第 4 部分,伴奏,向您展示如何充分利用基本旋律。您将学习如何写下您在收音机中听到的歌曲,如何用钢琴或吉他伴奏简单的旋律,以及如何为歌曲添加和声和对位法。

Part 4, Accompanying, shows you how to make more out of your basic melodies. You’ll learn how to write down the songs you hear on the radio, how to accompany simple melodies on piano or guitar, and how to add harmony and counterpoint to your songs.

第 5 部分,修饰,超越基础理论,介绍高级乐谱,并向您展示如何将音乐移调到其他调。您还将学习如何通过在编曲中替换更复杂的和弦来为您的音乐增添趣味。

Part 5, Embellishing, goes beyond basic theory to present advanced music notation and show you how to transpose music to other keys. You’ll also learn how to spice up your music by substituting more sophisticated chords in your arrangements.

第 6 部分,作曲和编曲,提出了创作自己的音乐并将其公开的现实建议。您将学习如何创作各种流派和形式的音乐,创建主谱和乐谱,使用乐谱软件创建复杂的编曲,以及安排乐器和声音组。

Part 6, Composing and Arranging, presents real-world advice for creating your own music—and taking it public. You’ll learn how to compose music in various genres and forms, create lead sheets and scores, use music notation software to create sophisticated arrangements, and arrange for groups of instruments and voices.

此外,您还可以获得三个附录,包括音乐术语表、在线听力训练文件指南以及本书练习的答案(位于每章末尾)。

In addition, you get three appendixes, including a glossary of musical terms, a guide to ear training files available online, and the answers to this book’s exercises (found at the end of each chapter).

说到在线,在本书的网站idiotsguides.com/musictheory上,您会找到大量音频文件、和弦参考、乐器范围图表以及有关演奏音乐的额外章节。

Speaking of online, at the book’s website, idiotsguides.com/musictheory, you’ll find a slew of audio files, a chord reference, charts of instrument ranges, and a bonus chapter on performing your music.

音乐理论视唱练耳在线课程

Music Theory Ear Training Course Online

本书附带的网页 ( idiotsguides.com/musictheory ) 是您进入音乐理论视唱课程的门户。这是一个自定进度的指南,采用流音频文件的形式,旨在提高您的音乐听力。通过在线示例和练习,学习如何识别音阶、音程、和弦和节奏。这是学习如何理解和转录您听到的音乐的好方法。(您可以在附录 B中查看您的答案。)

The web page that accompanies this book (idiotsguides.com/musictheory) is your gateway to the Music Theory Ear Training Course. This is a self-paced guide, in the form of streaming audio files, to improving your musical hearing. Work through the online examples and exercises to learn how to recognize scales, intervals, chords, and rhythms. It’s a great way to learn how to understand and transcribe the music you hear. (You can check your answers in Appendix B.)

虽然您不需要听在线音频文件来学习这本书,但我尝试将听力训练课程与整本书中呈现的内容结合起来。例如,当当你读完第 2 章后,你可以在线收听第二课(曲目#11),它可以让你听到所有这些音程实际上听起来是什么样的。在章节开头查找“听力训练”图标,以发现哪条在线曲目与所呈现的信息相对应。

Although you don’t need to listen to the online audio files to learn from the book, I’ve tried to tie the ear training lessons in with the content presented throughout the book. For example, when you read Chapter 2, you can listen to Lesson Two online (track #11), which lets you hear what all those intervals actually sound like. Look for the Ear Training icon at the beginning of a chapter to discover which track online corresponds to the information being presented.

使用本书需要什么

What You Need to Use This Book

任何练习或有抱负的音乐家都可以从白痴指南:音乐理论,第三版中学习基本音乐理论。您不需要任何初始知识即可开始;即使您不知道如何阅读乐谱或演奏乐器,也可以使用这本书。

Any practicing or aspiring musician can learn basic music theory from Idiot’s Guides: Music Theory, Third Edition. You don’t need any initial knowledge to get started; you can use this book even if you don’t know how to read music or play an instrument.

但是,如果您能够使用某种键盘乐器,将会有所帮助。这可以是钢琴或风琴,也可以是某种廉价的合成器或消费级音乐键盘。您甚至可以在智能手机或平板电脑上使用键盘应用程序。它不一定是一个很棒的键盘或一个很大的键盘;您将主要使用它来执行本书中的一些示例和练习。(你可以在没有键盘的情况下使用这本书,但是你必须在头脑中想象一些例子。)

However, it will help if you have access to some sort of keyboard instrument. That can be a piano or organ, or some sort of inexpensive synthesizer or consumer-grade music keyboard. You can even use a keyboard app on your smartphone or tablet. It doesn’t have to be a great keyboard or a big one; you’ll use it mainly to perform some of the examples and exercises in the book. (You can use this book without having a keyboard, but then you’ll have to envision some of the examples in your head.)

大多数示例和练习可以在任何乐器上进行——钢琴、吉他、小号或其他乐器。如果您不会演奏乐器,您可以唱大部分练习。如果你不会弹奏或唱歌,我建议你走廉价的键盘路线,这样你就能以某种方式听到所提出的理论。

Most of the examples and exercises can be performed on any instrument—piano, guitar, trumpet, or whatever. If you don’t play an instrument, you can sing most of the exercises. If you can’t play or sing, I suggest you go the cheap keyboard route, so that you have some way of hearing the theory presented.

如果您有一些空白的乐谱纸可供使用,也会有所帮助。当然,还有一台具有互联网连接的电脑、平板电脑或智能手机,这样您就可以在线收听音乐理论视唱课程

It will also help if you have some blank music paper at your disposal. And, of course, a computer, tablet, or smartphone with an internet connection, so you can listen to the Music Theory Ear Training Course online.

如何充分利用本书

How to Get the Most Out of This Book

为了充分利用本书,您应该了解它的设计方式。我尝试以这样的方式将这些东西组合在一起,使学习音乐理论既有价值又有趣。

To get the most out of this book, you should know how it is designed. I’ve tried to put things together in such a way to make learning music theory both rewarding and fun.

每一章都介绍了音乐理论的基本概念,并结合文本和音乐示例来逐步推进该概念。在某些章节中,您会找到参考资料页面(音阶列表、和弦图表等),您可以在需要时返回查看。

Each chapter presents a basic concept of music theory, and progresses through that concept using a combination of text and musical examples. In some chapters you’ll find pages of reference material—scale listings, chord charts, and the like—that you can turn back to whenever necessary.

每章末尾都有基于该章所介绍理论的练习。通过这些练习来测试您新学到的知识,并找出您需要在哪些领域多做一些努力!(这些练习的答案在附录 C中。)

At the end of each chapter are exercises based on the theory presented in that chapter. Work through these exercises to test your newfound knowledge—and find out what areas you need to work on a little more! (The answers to these exercises are in Appendix C.)

在整本书中,您将看到许多提供附加建议和信息的侧边栏。这些元素可以增强您的知识或指出需要避免的重要陷阱。以下是您会看到的侧边栏类型:

Throughout the entire book, you’ll see a number of sidebars that present additional advice and information. These elements enhance your knowledge or point out important pitfalls to avoid. Here are the types of sidebars you’ll see scattered throughout:

定义

DEFINITION

这些侧边栏包含与音乐理论方面相关的术语定义。

These sidebars contain definitions of terms pertaining to aspects of music theory.

笔记

NOTE

这些侧边栏包含有关当前主题的附加信息。

These sidebars contain additional information about the topic at hand.

提示

Tip

这些侧边栏包含有关如何最好地使用文本中提出的理论的建议。

These sidebars contain advice about how best to use the theory presented in the text.

警告

Warning

其中包含有关在阅读和创作音乐时应避免的注意事项。

These contain cautions about what to avoid when you’re reading and writing music.

让我知道你的想法

Let Me Know What You Think

如果您想了解更多关于我和我的其他书籍的信息,请访问我的个人网站millerwriter.com。搜索或点击找到本书的页面,找到我们发布的任何更正或说明。

If you want to learn more about me and my other books, check out my personal website at millerwriter.com. Search or click through to find the page for this book to find any corrections or clarifications we’ve posted.

您还可以使用我网站上的联系表来联系我提出问题或意见。我总是喜欢收到读者的来信——尤其是当读者是音乐家同事时!我不能保证我会回复每一条消息,但我保证我会阅读每一条消息!

You can also use the contact form on my website to contact me with questions or comments. I always love to hear from my readers—especially when the readers are fellow musicians! I can’t promise that I’ll answer every message, but I will promise that I’ll read each one!

奉献精神

Dedication

本书谨献给贝丝·奥格伦(Beth Ogren),我记忆中她一直是我的好朋友。她已经等我写一本关于她感兴趣的话题的书很久了——所以这就是,贝丝。

This book is dedicated to Beth Ogren, who has been a good friend for more years than I remember. She’s been waiting a long time for me to write a book about a topic she’s interested in—so here it is, Beth.

致谢

Acknowledgments

在本书的创作过程中,我得到了数十位人士的帮助,我要感谢以下人士的帮助:

I had assistance from dozens of individuals in the creation of this book and would like to thank the following for their help:

对于本书的第一版,我感谢 Marie Butler-Knight、Renee Wilmeth、Kathy Bidwell 和 Joan Paterson 帮助我将原稿变成了印刷书。对于第二个版中,我感谢 Jennifer Moore、Janette Lynn 和 Cari Luna 所做的额外工作。对于新的第三版,我感谢 Lori Cates Hand、Phil Kitchel、Billy Fields 和 Mike Sanders 使这本书比以往任何时候都更好。

For the first edition of this book, I thank Marie Butler-Knight, Renee Wilmeth, Kathy Bidwell, and Joan Paterson, for helping to turn my original manuscript into a printed book. For the second edition, I thank Jennifer Moore, Janette Lynn, and Cari Luna for their additional work. And for this new third edition, I thank Lori Cates Hand, Phil Kitchel, Billy Fields, and Mike Sanders for making the book better than ever.

此外,特别感谢我的初中音乐老师和终生的朋友菲利斯·富尔福德(Phyllis Fulford),她对本书的大纲提出了一些重要的修改,并在很久以前就鼓励了我的才能。

In addition, special thanks to my junior high school music teacher and lifelong friend, Phyllis Fulford, for suggesting some important changes to the book’s outline, and for encouraging my talents way back when.

还要感谢另一位老朋友奥森·梅森 (Orson Mason),他帮助我安排了与哈里·米德玛 (Harry Miedema) 的联系,也非常感谢他让我在印第安纳波利斯的爵士厨房 (Jazz Kitchen) 欣赏了许多精彩的爵士乐,以及同样美味的什锦饭隔壁的耶!

Thanks, as well, to another old friend, Orson Mason, who helped me arrange contact with Harry Miedema, and who also deserves many thanks for turning me on to a lot of great jazz at the Jazz Kitchen in Indianapolis—and equally tasty jambalaya at Yats next door!

还要感谢 Harry Miedema 同意为本书撰写原始前言。

Thanks also to Harry Miedema for agreeing to write the original foreword for this book.

特别感谢印第安纳大学音乐理论系名誉教授艾伦·温诺德 (Allen Winold) 在百忙之中(以及他的假期!) 慷慨地抽出时间审阅本书第一版的手稿。艾伦以一种非常受欢迎的热情投入到这个项目中,他的评论和建议有助于使这本书变得比其他情况下更好。

Special thanks go to Allen Winold, professor emeritus in the Department of Music Theory at Indiana University, for graciously taking time out of his busy schedule (and his vacation!) to review the manuscript of the first edition of this book. Allen jumped into this project with a very welcome enthusiasm, and his comments and suggestions helped to make this a better book than it otherwise would have been.

更要感谢作曲家、教育家和全能好人 Frank Felice 博士,他对本书的听耳训练课程进行了全面的审查,并为第二版撰写了新的前言。他帮助确保了听力训练文件和随附文本的准确性,并对内容和方法提供了许多宝贵的评论,并帮助使本书的第二版比第一版更好。

Even more thanks go to Dr. Frank Felice, composer, educator, and all-around good guy, for providing a thorough review of this book’s audio ear training course and for writing a new foreword for the second edition. He helped ensure the accuracy of the ear training files and accompanying text, and offered many valuable comments on content and approach—and helped to make the second edition of this book even better than the first.

如果我不感谢我可爱的妻子雪莉和我的家人,那就是我的失职。他们容忍了我所有的废话,其中一些(但不是全部)无疑与本书和其他书的写作有关。

I’d be remiss if I didn’t thank my lovely wife, Sherry, and the rest of my family. They put up with all my nonsense, some (but not all) of which is undoubtedly related to the writing of this and other books.

最后,我要感谢本书第一版和第二版的所有读者,感谢他们的友好评论和有用的建议。是你们让这本书取得了如此巨大的成功,我非常感谢你们的支持。

Finally, I’d like to thank all the readers of this book’s first and second editions, for their kind comments and useful suggestions. It’s you folks who made this book such a resounding success, and I’m extremely grateful for your support.

特别感谢技术审稿人

Special Thanks to the Technical Reviewer

《白痴指南:音乐理论》第三版由一位专家审阅,他仔细检查了此处所介绍内容的准确性,以帮助我们确保学习音乐理论的来龙去脉变得尽可能简单。特别感谢 Jay Fuchs 博士。

Idiot’s Guides: Music Theory, Third Edition, was reviewed by an expert who double-checked the accuracy of what’s presented here to help us ensure learning the ins and outs of music theory is as easy as it gets. Special thanks are extended to Jay Fuchs, PhD.

杰伊·福克斯博士是位于明尼苏达州圣保罗的麦克纳利·史密斯音乐学院音乐理论系主任。他拥有明尼苏达大学音乐理论和作曲博士学位,是一位受人尊敬的音乐教育家,创作了流行音乐系列《杰伊博士的音乐课程》。他也是一位受欢迎的歌手和钢琴家。

Dr. Jay Fuchs is the head of the Music Theory Department at McNally Smith College of Music, located in St. Paul, Minnesota. He holds a PhD in music theory and composition from the University of Minnesota and is a respected music educator, authoring the popular musicianship series Doctor Jay’s Music Lessons. He also is a popular singer and pianist.

第1部分

PART

1

音调

Tones

发现所有音乐的组成部分:您演奏或演唱的音高。您将了解音阶的音符、不同类型的谱号和五线谱、音符之间的音程、大调和小调音阶以及各种不同的调和调号。(仅仅四章就这么多了!)

Discover the building blocks of all music: the pitches you play or sing. You’ll learn about the notes of a scale, the different types of clefs and staves, the intervals between notes, major and minor scales, and all sorts of different keys and key signatures. (That’s a lot for just four chapters!)

第一

CHAPTER

1

音高和谱号

Pitches and Clefs

在这一章当中

In This Chapter

  • 理解音乐音调
  • Understanding musical tones
  • 为特定音高分配名称
  • Assigning names to specific pitches
  • 在五线谱上写笔记
  • Putting notes on a staff
  • 使用高音、低音和其他谱号
  • Using the treble, bass, and other clefs

第 1 课,第 2 课

Lesson 1, Track 2

从书名就可以看出,这是一本关于乐理的书。但音乐理论到底是什么?而且,比这更基本的是,什么是音乐?

As you can tell from the title, this is a book about music theory. But what exactly is music theory? And, even more basic than that, what is music?

“音乐”这个词有很多不同的定义,有些更具诗意而不是实用。例如,威廉·莎士比亚称音乐为“爱情的食粮”,萧伯纳称音乐为“受诅咒者的白兰地”,而戈特弗里德·威廉·莱布尼茨则称音乐为“听起来像数学的东西”。

There are lots of different definitions of the word “music,” some more poetic than practical. For example, William Shakespeare called music the “food of love,” George Bernard Shaw called music the “brandy of the damned,” and Gottfried Wilhelm Leibnitz called music “sounding mathematics.”

这些定义都很有趣,但并不是我们真正要寻找的。让我们尝试另一个定义:

Interesting definitions all, but not really what we’re looking for here. Let’s try another definition:

音乐是在时间框架内组织声音和寂静的艺术、工艺和科学。

Music is the art, the craft, and the science of organizing sound and silence in the framework of time.

现在这有点有用了,但它仍然相当广泛。这个定义可以描述各种各样的活动——母亲给孩子唱摇篮曲、管弦乐队演奏莫扎特交响曲、摇滚乐队演奏最新热门歌曲、一群美洲原住民演奏仪式性的鼓点、路易斯·阿姆斯特朗在音乐厅吹小号。爵士四重奏,一群水手唱着“哟嘿嘿”,或者夜莺在歌唱小夜曲。你买这本书可能不是为了了解所有这些东西,尽管它们都可以称为“音乐”。

Now that’s a little more helpful, but it’s still fairly broad. This definition could describe a tremendous range of activities—a mother singing a lullaby to her child, an orchestra playing a Mozart symphony, a rock group performing their latest hit, a group of Native Americans playing ceremonial drum beats, Louis Armstrong playing trumpet in a jazz quartet, a group of sailors chanting “yo heave ho,” or a nightingale warbling a serenade. You probably didn’t buy this book to learn about all these things, although all of them can be called “music.”

因此,我们将在本书中使用略有不同的音乐定义。这个定义更加具体:

So we’ll use a slightly different definition of music in this book. This definition is a lot more specific:

音乐是按特定节奏排列的一系列音调。

Music is a succession of tones arranged in a specific rhythm.

更好的?这个定义并没有涵盖所有被称为“音乐”的东西,但它可能涵盖了你熟悉的音乐类型——主要是二十世纪和二十一世纪的流行音乐,从拉格泰姆到雷鬼到摇滚,以及介于两者之间的一切。

Better? This definition doesn’t cover everything that’s ever been called “music,” but it probably covers those types of music that you’re familiar with—primarily, twentieth- and twenty-first-century popular music, from ragtime to reggae to rock, and everything in between.

现在谈谈“理论”这个词。在科学界,这个词被用作假设的表述,例如爱因斯坦的相对论。尽管学术音乐理论家有时确实以这种科学方式提出假设,但这不是本书的主题。

Now to the word “theory.” In scientific circles, this word is used as the formulation of a hypothesis, such as Einstein’s theory of relativity. Although academic music theorists sometimes do formulate hypotheses in this scientific fashion, that’s not what this book is about.

在我们的上下文中,我们将使用“理论”一词来表示对音乐基础知识的研究——表演者和听众需要了解的基本知识才能创作和享受这种奇妙的艺术。这可以追溯到这个词的根源,意思是“一种看待的方式”。如果我们扩大这个定义,不仅包括看,还包括听和表演,那么我们就完成了。

In our context, we’ll use the word “theory” to mean a study of the rudiments of music—the basic things that performers and listeners need to know to produce and enjoy this marvelous art. This goes back to the root meaning of the word, which means “a way of looking.” If we broaden this definition to include not just looking, but also listening and performing, then we’re set.

现在我们已经定义了术语,是时候学习音乐背后的理论了。让我们回到我们对音乐的定义,音乐是按特定节奏排列的一系列音调。那么,为了学习音乐,我们必须学习音符以及如何排列它们。

Now that we’ve defined our terms, it’s time to learn the theory behind the music. Let’s go back to our definition of music, which says that music is a succession of tones, arranged in a specific rhythm. To study music, then, we have to learn about notes, and about arranging them.

我们将从第 5 章开始讨论“以特定节奏进行编曲” 。这让我们暂时将注意力集中在音调上。

We’ll get to the “arranging in a specific rhythm” bit starting with Chapter 5. That lets us focus our attention, for the time being, on tones.

了解音乐音调

Understanding Musical Tones

那么什么是语气呢?定义很简单:音调是以特定音高演奏或演唱的声音。

So what’s a tone? The definition is simple: a tone is a sound that is played or sung at a specific pitch.

当你哼唱(继续……)时,你就是在哼唱一个音调。当你吹口哨时,你在吹口哨。当你发出“aaaahhhh”时,你发出了一个音调。如果你把两个或多个嗡嗡声、口哨声或“aaaahhhhs”放在一起,你就得到了音乐。

When you hum (go ahead …), you’re humming a tone. When you whistle, you’re whistling a tone. When you go “aaaahhhh,” you’re sounding a tone. If you put two or more hums, whistles, or “aaaahhhhs” together, you have music.

定义

DEFINITION

音高描述了音调的特定频率或音调。

Pitch describes the specific frequency or tuning of a tone.

您可以哼出多种不同的音调,无论是高音还是低音。较高的音调称为较高音调;较低的音调称为低音调

You can hum lots of different tones, high or low. The higher tones are referred to as higher pitched; lower tones are called lower pitched.

这是一个练习:哼一声。现在哼出比第一个音调更高的音调。

Here’s an exercise: hum a tone. Now hum a tone higher than the first tone.

你刚才哼的是两种不同的音调,两种不同的音调。第二个音调比第一个音调更高。

What you’ve just hummed are two separate tones, at two separate pitches. The second tone was higher pitched than the first tone.

不同的声音和不同的乐器会产生不同的音域。例如,女性的声音往往高于男性;大多数女性所唱的音调比大多数男性所唱的音调更高。(当然,这条规则也有例外;听一下 20 世纪 50 年代的一些 doo-wop 歌手,您会听到一些相当高的男声!)

Different voices and different instruments produce different ranges of tones. For example, women tend to have higher voices than men; the tones most women sing are higher pitched than the tones most men sing. (There are exceptions to this rule, of course; listen to some of the doo-wop singers of the 1950s and you’ll hear some fairly high male voices!)

在乐器世界中,物理上较大的乐器往往会产生低音调,而较小的乐器往往会产生较高音调。这是因为较大的乐器比较小的乐器移动更多的空气,而更多的空气意味着更低的音高。这就是为什么长笛的小圆柱体比大号的大铜管发出更高的音符,也是为什么吉他上的细弦比粗弦的音调更高。

In the world of musical instruments, physically larger instruments tend to produce lower-pitched tones, whereas smaller instruments tend to produce higher-pitched tones. This is because bigger instruments move more air than smaller ones do, and more air means a lower pitch. This is why the small cylinder of a flute produces higher notes than the big brass tubing of a tuba, and why the thin strings on a guitar are higher pitched than the thick strings.

笔记

NOTE

有些乐器产生的音调并不特定。这些乐器(例如鼓和铙钹)被称为无音调无音调乐器。它们产生的音调可高可低,但通常不对应于特定的音符音高。

Some instruments produce tones that aren’t at specific pitches. These instruments—such as drums and cymbals—are called unpitched or nonpitched instruments. The tones they produce can be high or low, but typically don’t correspond to specific note pitches.

有些乐器比其他乐器产生更广泛的音调。尤其是钢琴,音域非常广泛。从最低的音调(键盘最左边的琴键)到最高的音调(最右边的琴键),钢琴比任何其他乐器都能再现更多的音调,而且肯定比人声多得多!

Some instruments produce a broader range of tones than other instruments. In particular, the piano has a very broad range. From the lowest tone (the key on the far left of the keyboard) to the highest (the key on the far right), the piano reproduces more tones than just about any other instrument—and certainly a lot more than the human voice!

是时候进行另一项练习了:哼出你能哼出的最低声调;然后逐渐提高音调,直到你哼出你能哼出的最高音。你只是哼出很多不同的音调。那么,如何描述特定的音调以便其他人可以哼出相同的音调呢?

Time for another exercise: hum the lowest tone you can hum; then gradually raise the pitch until you’re humming the highest tone you can hum. You just hummed a whole lot of different tones. How, then, do you describe a specific tone so that someone else can hum the same tone?

笔记

NOTE

您会在本书中找到很多音乐术语,但您需要知道音乐家往往会互换使用其中许多术语。指挥家说“那个音符错了”可能意味着音高错误,或者音符值(节奏)错误。这是因为“注释”一词可以用来代替任何一个更具体的定义。因此,不要纠结于“音调”、“音高”和“音符”之间的差异。虽然每个词都有特定的定义,但使用上稍微宽松一点是可以接受的。我什至可能会在本书中用一个词代替另一个词。从上下文中你就会明白我的意思。

You’ll find lots of musical terms in this book, but you need to know that musicians tend to use a lot of these terms interchangeably. A conductor who says, “That note was wrong,” might mean that the pitch was wrong, or that the note value (rhythm) was wrong. That’s because the word “note” can be used in place of either more specific definition. So don’t get hung up on the differences between “tones” and “pitches” and “notes.” While there are specific definitions for each word, it’s acceptable to be a little loose on the usage. I might even substitute one word for another in this book. You’ll understand what I mean from the context.

音调有价值

Tones Have Value

在描述音调时,了解您可以演唱或演奏的每种音调都有特定的价值会有所帮助。您可以科学地测量该值,并使用该值来描述音调,或者更准确地说,它的音调。如果这太复杂,您还可以为每个音调指定任意名称。(来吧:哼一个叫“鲍勃”的音符。)

When it comes to describing a tone, it helps to know that every tone you can sing or play has a specific value. You can measure that value scientifically, and use that value to describe the tone—or, more precisely, its pitch. If that’s too complicated, you also can assign an arbitrary name to each tone. (Go ahead: hum a note called “Bob.”)

笔记

NOTE

确定特定音高的一种好方法是使用音叉,它是一个叉形金属片,在敲击时会以特定频率产生共振。大多数音叉的共振频率为 440Hz,即音高 A。有些人拥有所谓的完美音高,因为他们可以在头脑中听到绝对音高。然而,大多数人需要音叉、音管、钢琴或其他乐器的指导来确定特定的音高。

One good way to determine a specific pitch is with a tuning fork, which is a fork-shaped piece of metal that resonates at a specific frequency when struck. Most tuning forks resonate at 440Hz, which is the pitch A. Some people have what is called perfect pitch, in that they can hear absolute pitches in their heads. However, most people need the guidance of a tuning fork, pitch pipe, piano, or other musical instrument to fix a specific pitch.

调频

Tuning Into a Frequency

如果将麦克风插入示波器,然后向麦克风发出嗡嗡声,示波器将测量该音调的频率。这实际上是对空气分子振动速度的测量。振动越快,音调越高。

If you plug a microphone into an oscilloscope, and then hum a tone into the microphone, the oscilloscope will measure the frequency of the tone. This is actually a measurement of how fast the molecules of air are vibrating; the faster the vibrations, the higher the pitch.

定义

DEFINITION

频率是空气分子振动速度的测量。

Frequency is a measurement of how fast air molecules are vibrating.

这些振动以每秒周期数来测量,而且数量很多。(每秒的周期数通常称为赫兹,缩写为 Hz。)如果您哼出我们称为中音 C 的音调(位于完整 88 键钢琴键盘正中心的白键,或吉他第二根弦上的第一个品格) ),示波器将测量 261.6Hz,即空气每秒来回循环 261.6 次。

These vibrations are measured in cycles per second, and there are a lot of them. (Cycles per second are often called hertz, abbreviated Hz.) If you hum the pitch we call middle C (the white key in the exact center of a full 88-key piano keyboard, or the first fret on the second string of a guitar), the oscilloscope will measure 261.6Hz—that is, the air is cycling back and forth 261.6 times per second.

因此,识别特定音高的一种方法是通过它们的频率。不幸的是,即使根据频率写出简单的旋律也会变得有点笨拙。例如,这是按频率标注的“玛丽有一只小羊羔”的前半部分(“玛丽有一只小羊羔,小羊羔,小羊羔”):

So one way to identify specific pitches is by their frequency. Unfortunately, writing out even a simple melody in terms of frequency gets a tad unwieldy. For example, here’s the first half of “Mary Had a Little Lamb” (“Mary had a little lamb, little lamb, little lamb”) notated by frequency:

659赫兹、587赫兹、523赫兹、587赫兹、659赫兹、659赫兹、659赫兹、587赫兹、587赫兹

、587赫兹、659赫兹、

783赫兹、783赫兹

659Hz,   587Hz,   523Hz,   587Hz,   659Hz,   659Hz,   659Hz,

587Hz,   587Hz,   587Hz,

659Hz,   783Hz,   783Hz

不容易阅读,是吗?这就是为什么我们不使用频率方法来写音乐。

Not easy to read, is it? That’s why we don’t use the frequency method to write music.

笔记

NOTE

如今,大多数音乐家调音的“标准”音高是中音 C 之上的 A,相当于 440Hz;所有其他音符的​​音调都与该音符相关。在早期的时代和文化中,这个音符还有其他值——在十八世纪初的法国低至 376Hz,在十七世纪初的德国高达 560Hz(称为北德教堂音高

The “standard” pitch today that most musicians tune to is the A above middle C, which equals 440Hz; all the other notes are pitched in relation to this note. In earlier times and cultures, this note had other values—as low as 376Hz in early eighteenth-century France, and as high as 560Hz in early seventeenth-century Germany (referred to as North German church pitch).

按数字玩

Play by Numbers

指定音调的一种更简单的方法是对每个单独的音高进行编号。但在我们开始编号之前,了解一下不同音调之间的相互关系会有所帮助。

An easier way to designate tones is to number each individual pitch. But before we start numbering, it helps to know a little bit about how different pitches relate to each other.

当您哼出一个音高时,您可以将该音高从较低“滑动”到较高,然后再返回,这可能会让您认为有无限多个可用的音高。(当您查看频率时,您当然可以看到这一点;一种音调为 256Hz,另一种音调为 257Hz,另一种音调为 258Hz,依此类推。)

When you hum a pitch, you can “slide” that pitch from lower to higher and back again, which might make you think there are an infinite number of pitches available. (You can certainly see this when you look at frequencies; you have one tone at 256Hz, another at 257Hz, another at 258Hz, and so on.)

尽管这在理论上可能是正确的,但在实践中,有些音高太接近而无法清楚地区分它们。例如,如果您哼出 256Hz 音调和 257Hz 音调,它们听起来音调几乎相同,因为音调之间没有足够大的间隔。

Although that might be true in theory, in practice some pitches are too close together to clearly distinguish them. For example, if you hum a 256Hz tone and a 257Hz tone, they sound almost identical in pitch because there isn’t a big enough interval between the tones.

我们需要在音调之间设置合理的间隔,足以让我们的耳朵注意到,然后为产生的主要音高分配值。您最终得到的是一系列称为音阶的音高。(您将在第 2 章中了解有关音阶的更多信息。)每个音阶都以特定音调开始,并以同一音调的更高音调版本结束。

We need to place a reasonable interval between tones, enough for our ears to notice, and then assign values to those main pitches that result. What you end up with is a series of pitches called a scale. (You’ll learn more about scales in Chapter 2.) Each scale starts on a specific tone, and ends on a higher-pitched version of that same tone.

在西方世界,我们将音阶分为七个主要音符——如果算上最高音,即在音阶末尾重复更高的起始音符,则为八个。因为有七个音符,所以很容易对它们进行编号 - 从一到七。使用这个编号系统,“玛丽有一只小羔羊”的前半部分如下所示:

In the Western world, we divide our scales into seven main notes—eight if you count the top note, which is the starting note repeated higher at the end of the scale. Because there are seven notes, it’s easy to number them—one through seven. Using this numbering system, here’s what the first half of “Mary Had a Little Lamb” looks like:

3 2 1 2 3 3 3

2 2 2

3 5 5

3 2 1 2 3 3 3

2 2 2

3 5 5

如果您正在阅读前面的内容并想了解编号系统如何应用于传统音乐记谱法,以下是 C 大调音阶的样子(按数字排列):

If you’re reading ahead and want to see how the numbering system applies to traditional music notation, here’s what the C Major scale looks like, by the numbers:

对 C 大调音阶中的音符进行编号。

Numbering the notes in the C Major scale.

现在,不要在这里混淆,但其中一些主要音符之间实际上有音符——它们的数量足以让我们在它们开始重复之前确实有12 个音高。这些中间音高以我们所说的半音等距间隔,其中主要音高(A、B、C 等)之间有一个或两个半音,具体取决于音符。(我知道,它已经变得令人困惑了......)

Now, not to be confusing here, but there are actually notes between some of these main notes—enough of them that we really have 12 pitches before they start repeating. These in-between pitches are equally spaced in what we call half steps, where the major pitches (A, B, C, etc.) have either one or two half steps between them, depending on the note. (I know, it’s getting confusing already ….)

目前,我们将重点关注音阶的七个主要音符,因为这是最容易理解的。我们将把半音留在第 2 章。如果您有兴趣,请随时阅读。

For the time being, we’re going to focus on the seven main notes of a scale since that’s easiest to understand. We’ll leave the half steps for Chapter 2. Feel free to read ahead if you’re interested.

多瑞米

Do Re Mi

记住每个音调的另一种方法是为每个音调分配一个简单的音节。还记得《音乐之声》中的歌曲“Do,一只鹿,一只母鹿”吗?这就是我们在这里讨论的内容。

Another way to remember each tone is by assigning a simple syllable to each tone. Remember the song from The Sound of Music that goes “Do, a deer, a female deer”? That’s what we’re talking about here.

在这种称为SolfeggioSolfège(发音为sol-FEZH )的特殊方法中,音阶的七个音符中的每一个都有自己的名称。下表显示了要使用的单词。

In this particular method, called Solfeggio or Solfège (pronounced sol-FEZH), each of the seven notes of a scale has its own name. The following table shows the words to use.

提示

TIP

视唱练耳是一种使用一组音节(do、re、mi 等)命名乐音的方法。这些音节来自《施洗者圣约翰赞美诗》前六个单词的首音节;第七个音节(Ti)源自拉丁语圣约翰这个名字。

Solfeggio is a method of naming musical tones using a set of syllables—do, re, mi, and so on. These syllables come from the initial syllables of the first six words to “The Hymn to St. John the Baptist”; the seventh syllable (Ti) is derived from the name St. John, in Latin.

视唱练耳法

The Solfeggio Method

语气

Tone

视唱练耳名称

Solfeggio Name

发音

Pronunciation

1

1

Do

多赫

Doh

2

2

关于

Re

射线

Ray

3

3

Mi

Mee

4

4

F A

Fa

法赫

Fah

5

5

所以(索尔)

So (Sol)

所以

So

6

6

La

拉赫

Lah

7

7

Ti

球座

Tee

8

8

Do

多赫

Doh

以下是使用视唱练耳方法的“Mary Had a Little Lamb”的前半部分:

Here’s what the first half of “Mary Had a Little Lamb” looks like using the Solfeggio method:

Mi Re Do Re Mi Mi Mi

Re Re Re

Mi 所以所以

Mi Re Do Re Mi Mi Mi

Re Re Re

Mi So So

如果您正在阅读前面的内容并想了解视唱练耳名称如何应用于传统音乐符号,那么 C 大调音阶如下所示:

If you’re reading ahead and want to know how the Solfeggio names apply to traditional music notation, here’s what the C Major scale looks like:

C 大调音阶的 Do Re Mis。

The Do Re Mis of the C Major scale.

音调有名字

Tones Have Names

重要的是要知道编号和视唱练耳方法都是命名乐音的相对方法。也就是说,音阶中的第一个音符始终是第一,并且始终称为 Do。第二个音始终是第二个,并且始终称为 Re。无论您以什么实际语气开始,这些名称始终适用。

It’s important to know that both the numbering and the Solfeggio methods are relative ways of naming musical tones. That is, the first note in a scale is always number one, and is always called Do. The second tone is always number two, and is always called Re. It doesn’t matter what actual tone you start with, these names always apply.

使用相对命名的问题在于它不会告诉您从什么精确的音调开始。你的《Do Re Mi》可能会以低音开始,而你的邻居可能会以较高的音调开始,你们的二重唱最终听起来就像两头发情的水牛。

The problem with using relative naming is that it doesn’t tell you what precise pitch to start with. You might start your Do Re Mi on a low pitch, and your neighbor might start hers on a higher pitch, and your duet will end up sounding like two water buffaloes in heat.

那不好。(当然,除非你是水牛。)

And that’s not good. (Unless you’re a water buffalo, of course.)

不,我们需要的是一种指定特定音高的方法,而无需诉诸繁琐的频率方法。

No, what we need is a way to designate specific pitches—without resorting to the cumbersome frequency method.

学习 ABC

Learning the ABCs

命名特定音高的公认方式使用字母表的前七个字母 - A、B、C、D、E、F 和 G。尽管编号方法是相对的(数字 1 可以分配给任何音高),信法是绝对的。这意味着 A 始终指代特定频率。当你告诉某人唱歌或弹奏 A 时,他们总是会唱或弹奏相同的音调。

The accepted way of naming specific musical pitches uses the first seven letters of the alphabet—A, B, C, D, E, F, and G. Although the numbering method is relative (the number 1 can be assigned to any pitch), the letter method is absolute. This means that A always refers to a specific frequency. When you tell someone to sing or play an A, they’ll always sing or play the same pitch.

这种方法的唯一问题是你可以唱或弹奏多个 A。

The only problem with this method is that you can sing or play more than one A.

尝试这个练习:唱 ABCDEFGA(想想“Do Re Mi Fa So La Ti Do”)。第一个 A 和第二个 A 应该是相同的音调,第二个 A比第一个 A 高一个八度。(你会本章稍后会介绍八度音阶——足以说明这是一种呈现同一音符的较低或较高版本的方式。)

Try this exercise: sing A B C D E F G A (think “Do Re Mi Fa So La Ti Do”). The first A and the second A should be the same tone, with the second A an octave higher than the first A. (You’ll learn about octaves a little later in this chapter—suffice to say it’s a way of presenting a lower or higher version of the same note.)

您可以弹奏低音 A 和高音 A,以及低于和高于这些 A 的其他 A。现在,所有的 A 都会有相同的语气;它们只是基本音调的更高或更低版本。

You can play an A with a low pitch, and an A with a higher pitch—and other As both below and above those. Now, all the As will have the same tone; they’re just higher or lower versions of the basic pitch.

那么,如何判断要演奏或演唱哪个 A 呢?

How, then, do you tell which A to play or sing?

钢琴键盘上的音符

Notes on a Piano Keyboard

可视化七个基本音符(A 到 G)的一个好方法是查看钢琴键盘。键盘上的每个白键都对应这七个主要音符之一,如下图所示。(暂时忽略黑键。)

A good way to visualize the seven basic notes (A through G) is to look at a piano keyboard. Each white key on the keyboard corresponds to one of these seven main notes, as shown in the following figure. (And ignore the black keys, for the time being.)

钢琴键盘上的白键。

The white keys on a piano keyboard.

正如您所看到的,钢琴上的黑白键形成了一定的图案。如果您从正确的位置开始,您会看到黑键三三两两地排列。一组三个黑色音符左侧的第一个白键始终分配给 F 音。一组两个黑色音符左侧的第一个白键始终分配给 C。一旦您知道 F 和 C 的位置是,您可以找出其他音调的位置。

As you can see, the black and white keys on a piano form a certain pattern. If you start in the right place, you’ll see that the black keys are arranged in groups of threes and twos. The first white key to the left of a group of three black notes is always assigned to the tone of F. The first white key to the left of a group of two black notes is always assigned to C. Once you know where F and C are, you can figure out the location of the other tones.

要确定要弹奏哪个 A(或 F 或 C),请知道位于全尺寸钢琴键盘正中间的 C(位于制造商徽标或下拉门把手的正下方)称为中间C。(它是键盘中间的 C,很容易记住。)所有其他音符都可以相对于中音 C 来描述,如“中音 C 上方的 F”或“中音 C 下方的 D”。

To figure out which A (or F or C) to play, know that the C located in the very middle of a full-size piano keyboard—directly underneath the manufacturer’s logo or pull-down door handle—is called middle C. (It’s the C in the middle of the keyboard—easy to remember.) All other notes can be described relative to middle C—as in “the F above middle C” or “the D below middle C.”

提示

TIP

一些音乐家通过在音符名称后放置数字来识别特定音高。使用这种方法(有时称为科学音高记 谱法),三角钢琴上最低的 C 记为 C1。接下来的 C 是 C2,然后是 C3、C4,依此类推,所有其他音符都相同。(在此表示法中,中间的 C 是 C4。)

Some musicians identify the specific pitch by placing a number after the note name. Using this method (which is sometimes called scientific pitch notation), the lowest C on a grand piano is notated C1. The next C up from that is C2, then C3, C4, and so on—and the same for all the other notes. (In this notation, middle C is C4.)

员工须知

Notes on a Staff

现在您已经了解了七个基本音符以及它们在钢琴键盘上的位置,那么您如何将这些音符传达给其他人呢?你可以拼出一首歌;如果你用这个方法,《玛丽有一只小羊羔》的前半部分会是这样的:

Now that you know the seven basic notes and where they lie on a piano keyboard, how do you go about communicating those notes to others? You could just spell out a song; if you used this method, the first half of “Mary Had a Little Lamb” would look like this:

EDCDEEE

DDD

鸡蛋

E D C D E E E

D D D

E G G

现在,这比使用数字或视唱练耳更具体,但仍然有点难以阅读。标记音高的更好方法是使用在某些方面类似于基本钢琴键盘的图形来直观地进行标记。该图形称为员工

Now, that’s more specific than using numbers or Solfeggio, but it’s still somewhat difficult to read. A better way to notate pitches is to do so visually, using a graphic that in some ways resembles a basic piano keyboard. This graphic is called a staff.

基本的乐谱由线条和空间组成,如下所示:

The basic music staff is composed of lines and spaces, like this:

一个空白的工作人员。

A blank staff.

正如您所看到的,五线谱正好有五行和四个空格。每条线或空格代表一个特定的音高。音高由五线谱开头的谱号决定;我们在这里看到的五线谱使用的是所谓的高音谱号。(有几种不同类型的谱号,我们将在本章后面讨论。)

As you can see, the staff has precisely five lines and four spaces. Each line or space represents a specific pitch. The pitches are determined by the clef at the beginning of the staff; the staff we’re looking at here uses what’s called the treble clef. (There are several different types of clefs, which we’ll discuss later in this chapter.)

五线谱(高音谱号)的音符。

The notes of a staff (treble clef).

此高音谱号五线谱描绘了钢琴键盘正中间的音符,即中音 C 上方。(五线谱的底线代表中音 C 上方的 E。)下图显示了五线谱的音符与特定钢琴的关系键。

This treble clef staff pictures the notes in the exact middle of a piano keyboard—just above middle C. (The bottom line of the staff represents the E above middle C.) The following figure shows how the notes of the staff relate to specific piano keys.

谱表上的音符以及它们在钢琴键盘上出现的位置。

The notes on a staff and where they appear on a piano keyboard.

回到“玛丽有一只小羔羊”,这首歌的第一部分在乐谱上是这样的:

Back to “Mary Had a Little Lamb,” here’s what the first part of that song looks like on a music staff:

乐谱上的“玛丽有一只小羊羔”的音符。

The notes of “Mary Had a Little Lamb” on a music staff.

员工之上和之下

Above—and Below—the Staff

基本五线谱描述了九个基本音符——五个在横线上,四个在空格上。但是,这九个音符之上或之下的所有音符(例如“玛丽有一只小羊羔”中的最后一个音符)又如何呢?

The basic staff describes nine basic notes—five on the lines, four in the spaces. But what about all those notes either above or below these nine notes—like that last note in “Mary Had a Little Lamb”?

高于五线谱顶部 F 的音符写在五线谱上方的线条和空格中。例如,五线谱上方的第一个空格是 F: G 之后的第一个音符。五线谱上方的第一行是 G: A 之后的第一个音符。您可以在五线谱上方不断添加空格和线条来描述越来越高的音符,如下图所示。

Notes higher than the F at the top of the staff are written in the lines and spaces above the staff. For example, the first space above the staff is the first note after F: G. The first line above the staff is the first note after G: A. You can keep adding spaces and lines above the staff to describe higher and higher notes, as shown in the following figure.

注释在工作人员上方。

Notes above the staff.

正如您可以在五线谱上方添加线条和空格一样,您也可以在五线谱下方添加线条和空格来描述较低的音符。例如,五线谱下方的第一个空格是 E: D 之前的第一个音符。五线谱下方的第一行是 D:C 之前的第一个音符。下图显示了标准五线谱下方的前几个音符。顺便说一句,五线谱下方的第一行是中C。

Just as you can add lines and spaces above the staff, you can also add lines and spaces below the staff to describe lower notes. For example, the first space below the staff is the first note before E: D. The first line below the staff is the first note before D: C. The following figure shows the first few notes below the standard staff. By the way, the first line below the staff is middle C.

注释在工作人员下面。

Notes below the staff.

笔记

NOTE

您在员工上方或下方添加的行称为分类帐行。

The lines you add above or below a staff are called ledger lines.

不同的谱号

Different Clefs

到目前为止,我们一直在研究代表钢琴键盘上中 C 上方音符的五线谱。该五线谱的音符由五线谱开头出现的谱号类型决定,并且有多种不同类型的谱号。

Up till now, we’ve been looking at a staff that represents the notes just above middle C on the piano keyboard. The notes of this staff are determined by the type of clef that appears at the beginning of the staff—and there are several different types of clefs.

定义

DEFINITION

是放置在五线谱或乐曲开头的图形符号,用于确定五线谱上特定线条或空间的音高;因此,它决定了五线谱上所有其他音符的​​音高。

A clef is a graphical symbol placed at the beginning of a staff or piece of music that establishes the pitch of a specific line or space on the staff; thus it determines the pitch of all the other notes on the staff.

高音谱号

The Treble Clef

到目前为止,我们使用的谱号称为高音谱号。它看起来像这样:

The clef we’ve been working with so far is called the treble clef; it looks like this:

高音谱号。

The treble clef.

正如您已经了解到的,在现实世界中,高音谱号位于中音 C 的正上方。高音谱号的底线是 E;最上面一行是 F。

As you’ve already learned, in real-world terms the treble clef is positioned just above middle C. The bottom line of the treble clef staff is an E; the top line is an F.

像所有谱号一样,高音谱号固定单个音高的位置,从中您可以找出所有其余音符的位置。就高音谱号而言,它固定的音高是 G,它是五线谱上的第二条线。(如果你仔细观察高音谱号本身,你会发现大圆形谱号的一部分围绕五线谱的第二行。)因此,高音谱号有时被称为 G 谱号,而谱号本身看起来有点像大写 G。

The treble clef, like all clefs, fixes the position of a single pitch, from which you can figure out where all the rest of the notes go. In the case of the treble clef, the pitch it fixes is G, which is the second line on the staff. (If you look closely at the treble clef itself, you see that the big round part of the clef circles around the second line of the staff.) For this reason, the treble clef is sometimes called the G clef—and the clef itself looks a little like a capital G.

如果您很难记住哪个音符与五线谱上的哪行或空格对应,这里有一个简单的方法来记住它们。高音谱号的线从下到上分配给音符 E、G、B、D 和 F。您可以通过回忆短语“Every Good Boy Did Fine”中的第一个字母来记住这些线。高音谱号的空格从下到上分配给音符 F、A、C 和 E。您可以通过记住单词“FACE”来记住空格。

If you ever have trouble remembering which note goes with which line or space on a staff, here’s an easy way to remember them. The lines of the treble clef staff are assigned, bottom to top, to the notes E, G, B, D, and F. You can remember the lines by recalling the first letters in the phrase “Every Good Boy Does Fine.” The spaces of the treble clef staff are assigned, bottom to top, to the notes F, A, C, and E. You can remember the spaces by remembering the word “FACE.”

大多数高音乐器和声音都使用高音谱号。这包括小号、长笛、单簧管和吉他,以及演唱女高音、女低音和男高音部分的歌手。

Most higher-pitched instruments and voices use the treble clef. This includes trumpets, flutes, clarinets, and guitars, as well as singers singing the soprano, alto, and tenor parts.

低音谱号

The Bass Clef

当您需要在高音谱号下方创作音乐时,您可以使用不同的谱号,称为低音谱号。低音谱号位于中音 C 的正下方,有时称为 F 谱号。(这是因为谱号上的两个点围绕着第四条线,即 F。)

When you need to write music below the treble clef, you can use a different clef, called the bass clef. The bass clef is positioned just below middle C, and is sometimes called the F clef. (That’s because the two dots on the clef surround the fourth line, which is F.)

笔记

NOTE

“bass”这个词,如“bass clef”中的发音是“ base ” ——就像事物的底部,而不是鱼。

The word “bass,” as in “bass clef,” is pronounced base—like the bottom of things, not like the fish.

这是低音谱号的外观,带有低音谱号五线谱的音符:

Here’s what the bass clef looks like, with the notes of a bass clef staff:

低音谱号。

The bass clef.

大多数低音调乐器和声音都使用低音谱号。这包括长号、大号、低音吉他和演唱低音部分的歌手。

Most lower-pitched instruments and voices use the bass clef. This includes trombones, tubas, bass guitars, and singers singing the bass part.

记住低音谱号的一个简单方法是使用短语“Good Boys Do Fine Always”。(每个单词的第一个字母从下到上描述了五线谱的每一行。)要记住低音谱号的空格,请记住短语“All Cows Eat Grass”中的第一个字母。

An easy way to remember the lines of the bass clef is with the phrase “Good Boys Do Fine Always.” (The first letter of each word describes each line of the staff, from bottom to top.) To remember the spaces of the bass clef, remember the first letters in the phrase “All Cows Eat Grass.”

伟大的员工

The Grand Staff

如果您弹奏或创作钢琴,您还需要了解另一位工作人员。该谱表称为大谱表,将高音谱表谱表和低音谱表谱表连接在一起。(那是因为你用两只手弹钢琴;每个五线谱大致对应于每只手。)

If you play or write for piano, there’s another staff you need to know. This staff, called the grand staff, links together a treble clef staff and a bass clef staff. (That’s because you play the piano with two hands; each staff roughly corresponds to each hand.)

伟大的员工是这样的:

The grand staff looks like this:

伟大的员工。

The grand staff.

当您使用大五线谱时,请务必注意两根五线谱整齐地相互融合。低音谱号顶部的 A 在该谱表上方延伸到 B 和 C。然后,C 链接到高音谱号,继续向上延伸到 D,然后是高音谱号底线上的 E。

When you use a grand staff, it’s important to note that the two staffs neatly flow into each other. The A at the top of the bass clef extends above that staff to a B and a C. The C is then linked to the treble clef, goes on up to a D, and then the E on the bottom line of the treble clef.

巧妙的是,C(恰好是中间的 C)位于每根谱线的中间。因此,当您在大谱表上写下中音 C 时,它可能会从高音谱号谱表向下延伸,或从低音谱号谱表向上延伸,具体取决于周围音符的放置位置。

The neat thing is that the C—which just happens to be middle C—is halfway between each staff. So when you write a middle C on a grand staff, it might extend down from the treble clef staff or extend up from the bass clef staff, depending on where the surrounding notes are placed.

专业谱号

Specialty Clefs

有一些专业谱号是您必须学习的,尽管您可能不会经常使用它们。这些谱号专为那些音域不适合传统高音或低音谱号的乐器而设计。

There are a handful of specialty clefs you must learn, although you probably won’t use them much. These clefs are designed for instruments whose ranges don’t fit comfortably within the traditional treble or bass clefs.

最常见的专业谱号之一是中音谱号,如下所示:

One of the most common specialty clefs is the alto clef, shown here:

中音谱号。

The alto clef.

中音谱号主要由中提琴使用,中提琴是小提琴的稍大版本。该谱号上的指针指向中间 C,即第三条线,位于五线谱的正中间。

The alto clef is used primarily by the viola, which is a slightly bigger version of a violin. The pointer on this clef points at middle C, which is the third line, in the exact middle of the staff.

中音谱号看起来很像中音谱号,只是指针指向不同的线。(它仍然指向中 C,但中 C 位于五线谱上的不同点。)次中音谱号看起来像这样,有时由巴松管、低音小提琴和次中音长号使用。

The tenor clef looks a lot like the alto clef, except the pointer points at a different line. (It still points to middle C, but middle C is positioned at a different point on the staff.) The tenor clef looks like this, and is sometimes used by bassoons, bass violins, and tenor trombones.

男高音谱号。

The tenor clef.

尽管还有其他几个专业谱号(包括男中音、低音提琴和法国小提琴谱号),但您可能不会经常遇到它们;它们没有被广泛使用。但是,您可能会遇到所谓的八度谱号,它看起来像普通的高音或低音谱号,在谱号上方或下方有数字 8。当您看到这种类型的谱号时,您应该将正常的高音谱号音符向上(如果 8 在谱号上方)或向下(如果 8 在谱号下方)移调一个八度。

Although there are several other specialty clefs (including the baritone, subbass, and French violin clefs), you probably won’t run into them too often; they’re not widely used. However, you might run into what is called an octave clef, which looks like a normal treble or bass clef with the number 8 either above or below the clef. When you see this type of clef, you’re supposed to transpose the normal treble clef notes either up (if the 8 is above the clef) or down (if the 8 is below the clef) an octave.

八度谱号。

Octave clefs.

打击乐谱号

The Percussion Clef

您还应该了解另外一个谱号,它确实是所有谱号中最简单的一个。当您为鼓和其他打击乐器(不演奏固定音高的乐器)创作时,会使用此谱号。它被称为打击乐谱号不定音高谱号,可以用以下两种方式之一编写:

There’s one more clef you should know, and it’s really the easiest of them all. This clef is used when you’re writing for drums and other percussion instruments—those that don’t play a fixed pitch. It’s called either the percussion clef or the indefinite pitch clef, and it can be written one of two ways:

打击乐谱号——版本一和版本二。

The percussion clef—version one and version two.

这个谱号的巧妙之处在于,线条和空间不对应于任何特定的音高。相反,您可以将不同的乐器分配给五线谱的不同部分。

The neat thing about this clef is that the lines and spaces don’t correspond to any specific pitches. Instead, you assign different instruments to different parts of the staff.

例如,如果您正在为鼓组写作,则可以将低音鼓分配到底部空间,将军鼓分配到第三个空间,并将两个桶鼓分配到第二个和第四个空间;您可以将镲片放在五线谱的顶线上。

For example, if you’re writing for drum set, you might assign the bass drum to the bottom space, the snare drum to the third space, and two tom-toms to the second and fourth spaces; you can put the ride cymbal on the top line of the staff.

提示

TIP

对于如何将乐器分配给打击乐谱号实际上没有任何规则,因此您几乎只能靠自己了。咨询一些鼓手或查看一些打击乐部件可能是个好主意,以便更好地了解如何使用打击乐谱号。

There really aren’t any rules for how to assign instruments to a percussion clef, so you’re pretty much on your own. It’s probably a good idea to consult a few drummers or look at a few percussion parts to get a better idea of how to use the percussion clef.

练习

Exercises

练习1-1

Exercise 1-1

在注释下方写下每个注释的名称。

Write the name of each note below the note.

练习1-2

Exercise 1-2

在注释下方写下每个注释的名称。

Write the name of each note below the note.

练习1-3

Exercise 1-3

将每条注释写在五线谱上。

Write each note on the staff.

练习1-4

Exercise 1-4

将每条注释写在五线谱上。

Write each note on the staff.

练习1-5

Exercise 1-5

在五线谱上画出指定的谱号。

Draw the indicated clefs on the staff.

练习1-6

Exercise 1-6

将以下注释写在五线谱上方。

Write the following notes above the staff.

练习1-7

Exercise 1-7

在五线谱下方写下以下注释。

Write the following notes below the staff.

练习1-8

Exercise 1-8

识别钢琴键盘上的以下音符。

Identify the following notes on the piano keyboard.

您至少需要知道的

The Least You Need to Know

  • 音乐是按特定模式排列的一系列音调;音调是以特定音高演奏或演唱的声音。
  • Music is a succession of tones arranged in a specific pattern; a tone is a sound that is played or sung at a specific pitch.
  • 有许多不同的方法来描述特定的音调。您可以通过振动频率、与其他音高相比的数字位置或使用 Do Re Mi(视唱练耳)方法来描述音高。
  • There are many different ways to describe a specific pitch. You can describe a pitch by its vibration frequency, by where it lies numerically compared to other pitches, or by using the Do Re Mi (Solfeggio) method.
  • 既定的乐谱将字母分配给七个基本音高(A 到 G)。当您生成更高的音高时,这些字母会重复。
  • Established music notation assigns letters to the seven basic pitches, A through G. The letters repeat as you generate higher pitches.
  • 音高被分配给钢琴键盘上的特定键,以及乐谱上的特定线和空间。
  • Pitches are assigned to specific keys on a piano keyboard, and to specific lines and spaces on a musical staff.
  • 位于五线谱开头的谱号决定了哪些音符出现在五线谱上的位置。最常用的谱号是高音谱号;低音谱号用于低音乐器和声音。
  • The clef placed at the start of a staff determines which notes appear where on the staff. The most used clef is the treble clef; the bass clef is used for lower-pitched instruments and voices.

第二

CHAPTER

2

间隔

Intervals

在这一章当中

In This Chapter

  • 用升音和降音改变音高
  • Changing pitches with sharps and flats
  • 了解半音和全音
  • Understanding half steps and whole steps
  • 计算音符之间的间隔
  • Counting the intervals between notes
  • 使用大调、小调、完美、减音和增音程
  • Using major, minor, perfect, diminished, and augmented intervals

第 2 课,轨道 11

Lesson 2, Track 11

在上一章中,您学习了有关音高的所有内容:如何命名它们以及如何在五线谱上呈现它们。在本章中,我们将进一步探讨如何升高和降低音高,以及如何用音程来描述音高之间的差异

In the previous chapter you learned all about musical pitches: how they’re named and how they’re presented on a staff. In this chapter we’ll go beyond that by looking at how pitches can be raised and lowered, and how you can describe the differences between pitches in terms of intervals.

为了使事情尽可能简单,我们将根据 C 大调音阶(即钢琴键盘上的一个 C 与上面的下一个 C 之间的音符)来讨论这些音高和音程。正如您将看到的,基本概念可以应用于任何规模;只是坚持单一的尺度会让一切更容易掌握。(而且,至少在钢琴上,C 大调音阶是最容易使用的音阶——全是白键!)

To make things as simple as possible, we’ll discuss these pitches and intervals in terms of the C Major scale—that is, the notes between one C on the piano keyboard and the next C above that. The basic concepts can be applied to any scale, as you’ll see; it’s just that sticking to a single scale makes it all a little easier to grasp. (And, at least on the piano, the C Major scale is the easiest scale to work with—it’s all white keys!)

要么尖锐,要么平坦

Be Sharp—or Be Flat

正如您在第 1 章中了解到的,乐谱上的线条和空间与钢琴上的白键完全对应。但是那些黑键呢?他们在哪里?

As you learned in Chapter 1, the lines and spaces on a music staff correspond exactly to the white keys on a piano. But what about those black keys? Where are they on the staff?

当我们说西方音阶中有 7 个主要音高(A 到 G)时,这有点过于简单化了:一个八度实际上有 12 个可能的音符,其中一些位于 7 个主要音高之间。

When we say there are 7 main pitches in a Western musical scale (A through G), that’s a bit of an oversimplification: there actually are 12 possible notes in an octave, with some of them falling between the 7 main pitches.

只需数一下钢琴上中间 C 和下一个 C 之间的琴键即可,包括黑键,但不计算第二个 C。如果数正确,您数到了 12 个键,代表 12 个音高;每个音高/调与前一个音高/调的音​​程相同。

Just count the keys between middle C and next C on the piano—including the black keys, but without counting the second C. If you counted correctly, you counted 12 keys, which represent 12 pitches; each pitch/key is the same interval away from the previous pitch/key.

这些黑键称为升号降号。升号和降号位于钢琴上白键所代表的音高之间;升号位于特定调上方,降号位于特定调下方。

These black keys are called sharps and flats. Sharps and flats are halfway between the pitches represented by the white keys on a piano; a sharp is above a specific key, and a flat is below a specific key.

换句话说,升号可以提高自然音;升号可以提高自然音。降调则降低音符。

Put another way, a sharp raises the natural note; a flat lowers the note.

以中间 C 键上方的黑键为例。您可以将此键称为升 C 调,因为它提高了 C 的音调。它也可以称为降D 调,因为它降低了下一个白键 D。这可能有点令人困惑,但这是事实 —升C 音与降D 音相同。每当你有两个描述相同音高的音符(例如升 C 调和降 D 调)时,这些音符就是和谐的

Take the black key above the middle C key, for example. You can refer to this key as C-sharp, because it raises the pitch of C. It also can be called D-flat, because it lowers the next white key up, D. It may be a little confusing, but it’s true—C-sharp is the same note as D-flat. And whenever you have two notes that describe the same pitch—like C-sharp and D-flat—the notes are enharmonic.

以下是可用于钢琴黑键的双重名称:

Here are the dual names you can use for a piano’s black keys:

钢琴键盘上的黑键。

The black keys on a piano keyboard.

在音乐谱表上,升号和降号由受影响音符之前的特殊字符指定。这些字符称为临时记号,如下所示:

On a music staff, sharps and flats are designated by special characters placed before the affected note. These characters, called accidentals, look like this:

锐记号、平记号和自然记号。

A sharp, a flat, and a natural sign.

第三个字符称为自然字符。当您在一首音乐上看到自然符号时,这意味着将特定音符恢复到其自然状态,没有任何升号或降号。

That third character is called a natural. When you see a natural sign on a piece of music, it means to return the specific note to its natural state, without any sharps or flats.

重要的是要知道您可以向任何音符添加升号和降号,甚至是钢琴上那些之间没有黑音符的琴键。因此,举例来说,如果您在 C 音符上添加降音,您就会将其降低到键盘上的下一个音符,而这恰好是 B 自然音符。(这意味着自然 B 音高与降 C 音高相同。)

It’s important to know that you can add sharps and flats to any note—even those keys on a piano that don’t have black notes between them. So, for example, if you add a flat to the C note, you lower it to the next note on the keyboard—which happens to be B natural. (This means B natural is the same pitch as C-flat.)

定义

DEFINITION

音程是两个音高之间的间隔。西方音乐中最小的音程是半音;音程通常以两个音符之间的半音数来衡量。两个听起来相同但拼写不同的音符称为等音音符。对自然音符的任何修改都称为偶然升号和降号是偶然的;自然符号(用于将升号或降号音符恢复到其自然状态)也是偶然的。

An interval is the space between two pitches. The smallest interval in Western music is a half step; intervals are typically measured in the number of half steps between the two notes. Two notes that sound the same but can be spelled differently are called enharmonic notes. Any modification to a natural note is called an accidental. Sharps and flats are accidentals; the natural sign (used to return a sharped or flatted note to its natural state) is also an accidental.

走出去……

Steppin’ Out …

西方音乐中最小的音程是半音。在钢琴键盘上,半音出现在白键 B 和 C 之间以及 E 和 F 之间。在所有其他情况下,半音出现在白键和黑键之间,例如,D 到升 D 或升 F 到升 F。 G。

The smallest interval in Western music is the half step. On the piano keyboard, half steps appear between the white keys B and C and between E and F. In all other cases they appear between a white key and a black key—for example, D to D-sharp, or F-sharp to G.

笔记

NOTE

在某些音乐界,半音称为半音,全音称为音。在吉他上,半音是单个品格的距离。一整步是两个音品的距离。

In some musical circles, a half step is called a semitone, and a whole step is called a tone. On a guitar, a half step is the distance of a single fret. A whole step is the distance of two frets.

两个半步等于一个全步。F和G之间的间隔是一个全音;B 和升 C 之间的音程也是一个全音。

Two half steps equal one whole step. The interval between F and G is a whole step; the interval between B and C-sharp is also a whole step.

现在您了解了音阶,就更容易理解升音和降音的工作原理了。当您锐化一个音符时,您会将音高提高半音。当您调平音符时,您会将音高降低半音。

Now that you know about steps, it’s a little easier to understand how sharps and flats work. When you sharpen a note, you move the pitch up a half step. When you flatten a note, you move the pitch down a half step.

以音符C为例。当你在 C 上加一个降音时,你就把它降低了半音。因为 C 左侧的第一个键(白键或黑键)是白键 B,这意味着降 C 等于 B。当您向 C 添加升号时,您会将其提高半音。C 右边的第一个键是我们称为升 C 的黑键。(这个黑键也是D左边的第一个键,这意味着升C调与降D调相同。)

Take the note C, for example. When you add a flat to C, you take it down a half step. Because the first key (white or black) to the left of C is the white key B, this means C-flat equals B. When you add a sharp to C, you take it up a half step. The first key to the right of C is the black key we call C-sharp. (This black key is also the first key to the left of D, which means C-sharp is the same as D-flat.)

您可以使用步长方法来描述两个音符之间的间隔 - 尽管一旦距离超过几步,计数就会变得有点困难。当您试图找出哪个音符比中音 C 高七个半音(如果您数数的话,就是 G),是时候使用另一种方法来描述您的音程了。

You can use the step method to describe the intervals between two notes—although once you get more than a few steps away, the counting becomes a tad difficult. When you’re trying to figure out which note is seven half steps above middle C (it’s G, in case you’re counting), it’s time to use another method to describe your intervals.

提示

TIP

半音是西方音乐中最小的音程,但世界其他地区的音乐通常包含小于半音的音程。例如,一些印度音乐将一个八度分为 22 个音阶,每个音阶大约是西方半音阶的一半。

The half step is the smallest interval in Western music, but music from other parts of the world often contains intervals smaller than a half step. Some Indian music, for example, divides an octave into 22 steps, each about half as large as a Western half step.

程度问题

A Matter of Degrees

描述音程的一种更被接受的方法是回到音阶的七个主要音符并重新审视相对编号方法。您可以使用音阶的数字来表示音符之间的基本音程,从而将此编号应用于任何音阶。

A more accepted way of describing intervals is to go back to the seven main notes of a scale and revisit the relative numbering method. You can use the numbers of the scale to denote the basic intervals between notes, and thus apply this numbering to any scale.

要事第一

First Things First

正如您在上一章中学到的那样,您可以使用数字来描述任何音阶的七个主要音符。第一个音符编号为 1,第二个音符编号为 2,依此类推。这种编号方法实际上描述了音阶的七个音阶。

As you learned in the previous chapter, you can use numbers to describe the seven main notes in any scale. The first note is numbered one, the second note is numbered two, and so on. This method of numbering actually describes the seven degrees of a musical scale.

您还可以使用一些奇特的音乐名称来代替数字,您可能会在一些更正式的情况下遇到这种情况。下表列出了这些正式的学位名称。

There also are fancy musical names you can use in place of the numbers, which you might run into in some more formal situations. The following table presents these formal degree names.

量表的度数

Degrees of the Scale

程度

Degree

姓名

Name

第一(

First (Root)

补品

Tonic

第二

Second

超级补剂

Supertonic

第三

Third

中音

Mediant

第四

Fourth

下属

Subdominant

第五

Fifth

主导的

Dominant

第六

Sixth

下中音

Submediant

第七

Seventh

前导音符

Leading Note

八度(八度)

Eighth (Octave)

补品

Tonic

定义

DEFINITION

音程、和弦或音阶的最低音符称为根音

The lowest note of an interval, chord, or scale, is called the root.

说实话,你可能不会使用所有这些花哨的学位名称;如果你只说第一、第二、第三等等,音乐家就会知道你在说什么。如果您只记住其中一些正式名称,请重点关注主音属音——在现实情况中,第一度和第五度是最重要的。(当你在第 10 章学习和弦进行时,所有这些都会变得更加重要。)

To be honest, you probably won’t use all of these fancy degree names; musicians will know what you’re talking about if you just say first, second, third, and so forth. If you only memorize a few of these formal names, focus on tonic and dominant–the first and the fifth degrees are most important in real-world situations. (All this will become more important when you learn about chord progressions in Chapter 10.)

在我们继续之前,您还需要了解一些术语。当两个音高完全相同的音符由两种不同的乐器或声音演奏时,它们会同时演奏。两个同名的相同音符,相隔八度演奏,形成一个八度。(“八度”一词来自拉丁语“ octo”,意思是“八”,因为八度是在起始音符之上八个音符。)

There are a few more terms you need to know before we proceed. When two notes of the exact same pitch are played by two different instruments or voices, they’re played in unison. Two identical notes with the same name, played eight degrees apart, form an octave. (The word “octave” comes from the Latin word “octo,” for “eight”—because an octave is eight notes above the beginning note.)

例如,如果您从键盘上的中间 C 转到下一个 C,则这是一个八度;F到F是另一个八度,依此类推。

For example, if you go from middle C to the next C up the keyboard, that’s an octave; F to F is another octave, and so on.

当您描述音符之间的音程时,这些音乐度会派上用场。您可以使用这些相对数字来简单地描述间隔,而不是计算半步和全步。

These musical degrees come in handy when you’re describing intervals between notes. Instead of counting half steps and whole steps, you can simply describe an interval by using these relative numbers.

例如,假设您要描述 C 和 D 之间的间隔。如果您将 C 算为一(一级),则 D 为二,并且它们之间的间隔称为。C和E(一级和三级)之间的音程是三度;C和F(一级和四级)之间的音程是四度,依此类推。

For example, let’s say you want to describe the interval between C and D. If you count C as number one (the first degree), D is number two, and the interval between them is called a second. The interval between C and E (the first and third degrees) is a third; the interval between C and F (the first and fourth degrees) is a fourth, and so on.

很简单,一旦你习惯了!

Pretty easy, once you get used to it!

下图显示了基本音程,以同音开始,以八度结束,以 C 为根音。

The following figure shows the basic intervals, starting with a unison and ending with an octave, with C as the root.

基本音程,从 C 开始。

The basic intervals, starting on C.

大调和小调音程

Major and Minor Intervals

当您按程度描述音程时,您仍然需要处理那些高于或低于基本音符的音高——升号和降号,或者键盘上的黑键。

When you describe intervals by degree, you still have to deal with those pitches that fall above or below the basic notes—the sharps and flats, or the black keys on a keyboard.

当按度测量时,您会发现第二、第三、第六和第七音符很容易被压平。当您压平这些音符之一时,您就创建了所谓的音程。这些音程(大调音阶)的自然状态称为调音程。

When measuring by degrees, you see that the second, third, sixth, and seventh notes can be easily flattened. When you flatten one of these notes, you create what is called a minor interval. The natural state of these intervals (in a major scale) is called a major interval.

以下是这四个音程的样子,以 C 为根音,有大调和小调两种形式。

Here’s what these four intervals look like, with C as the root, in both major and minor forms.

大调和小调音程,从 C 开始。

Major and minor intervals, starting on C.

笔记

NOTE

请记住,在本章中我们将讨论大调音阶内的音程。小调音阶(在第 3 章中描述)在音阶之间有不同的“自然”音程。

Remember, in this chapter we’re dealing with intervals within a major scale. Minor scales (described in Chapter 3) have different “natural” intervals between degrees of the scale.

完美的间隔

Perfect Intervals

某些音程没有单独的主要或次要状态(尽管它们仍然可以被展平或锐化)。这些音程(四度、五度和八度)仅以一种形式存在,称为完美音程。您不能降低这些音程以使其变小,也不能提高它们以使其变大;没有小五度或大八度这样的东西。由于其声学特性,音程本身是完美的。

Certain intervals don’t have separate major or minor states (although they can still be flattened or sharpened). These intervals—fourths, fifths, and octaves—exist in one form only, called a perfect interval. You can’t lower these intervals to make them minor or raise them to make them major; there’s no such thing as a minor fifth or a major octave. The intervals, because of their acoustical properties, are perfect as-is.

这是三个完美音程,以 C 为根音。

Here are the three perfect intervals, with C as the root.

三个完美音程,从 C 开始。

Three perfect intervals, starting on C.

多年来,我发现完美的音程往往会让一些音乐初学者感到困惑。(还有一些更高级的音程!)事实上,它们没有大调和小调形式,这使得它们与其他音程形成鲜明对比。

Over the years, I’ve found that perfect intervals tend to confuse some beginning music students. (And some more advanced ones, too!) The fact that they don’t have major and minor forms puts them in stark contrast to the other intervals.

现在,完全可以(抱歉……)接受四度、五度和八度与其他音程不同的事实,然后就这样吧。但这些独特的间隔背后的原因却让许多学生感到烦恼。

Now, it’s perfectly (sorry …) okay to just accept that fourths and fifths and octaves are different from other intervals and let it go at that. But it’s the why behind these unique intervals that vexes many students.

我被问到的一个大问题是:“为什么完美的间隔如此完美?” 这一切都与频率以及频率之间的比率有关。简而言之,完美音程听起来如此密切相关,因为它们的频率密切相关。

The big question I get asked is, “Why is a perfect interval so perfect?” It all has to do with frequencies, and with ratios between frequencies. In a nutshell, perfect intervals sound so closely related because their frequencies are closely related.

例如,完美的八度音程的两个频率之间的比率为 2:1 - 八度音程是起始音高(称为基音频率的两倍。如果基频为 440Hz,则上面的倍频程是该频率的两倍,即 880Hz。同样,纯五度的比例为 3:2;您将起始音高乘以3 / 2即可得到上面的完美五度音(440Hz 基音为 660Hz)。纯四度的比例为 4:3;将基波乘以4 / 3即可得到完美的四度(440Hz 基波为 586Hz)。

For example, a perfect octave has a ratio of 2:1 between the two frequencies—the octave is twice the frequency of the starting pitch (which is called the fundamental). If the fundamental is 440Hz, the octave above is twice that frequency, or 880Hz. Similarly, a perfect fifth has a ratio of 3:2; you take the starting pitch and multiply it by 3/2 to get the perfect fifth above (660Hz for a 440Hz fundamental). A perfect fourth has a ratio of 4:3; multiply the fundamental by 4/3 to get the perfect fourth (586Hz for a 440Hz fundamental).

其他音程具有更复杂的比率,这使得它们不太完美。例如,大三度的比例为 5:4,不像 2:1、3:2 或 4:3 比例那样简单或完美。而6:5的小三度比例则更不完美。

Other intervals have more complex ratios, which makes them less perfect. For example, a major third has a ratio of 5:4, not quite as simple—or as perfect—as a 2:1, 3:2, or 4:3 ratio. And the minor third ratio of 6:5 is even less perfect.

将每个日益复杂的音程比放入级数中,形成所谓的调和级数,而音程(按顺序)称为调和级数。完美音程的更简单的和声听起来更悦耳,因为它们不那么复杂——声音上发生的事情更少。

Put into a series, each increasingly complex interval ratio forms what is called a harmonic series, and the intervals (in order) are called harmonics. The simpler harmonics of the perfect intervals sound more pleasing to our ears because they’re less complex—there’s less stuff going on, sonically.

长话短说,我们之所以称八度、五度和四度为“完美”,是因为它们更简单、更协和——也就是说,它们比不太完美的音程听起来更好、更自然。诚然,命名有些随意,但事情就是这样。我的建议是不要因为这一切而失去太多睡眠,只需了解哪些间隔是哪些即可。他们不会改变。

To make a long story short, the reason we call octaves, fifths, and fourths “perfect” is because they’re simpler and more consonant—that is, they sound better and more natural than do the less perfect intervals. The nomenclature is somewhat arbitrary, admittedly, but that’s just the way things are. My advice is not to lose too much sleep over all this and just learn which intervals are which. They’re not going to change.

增加和减少间隔

Augmented and Diminished Intervals

好的,现在您知道完美的音程不能是大调或小调。但这并不意味着它们不能改变。您可以升高或降低四度和五度 - 但是,结果不称为大调或小调。当你将完美音程提高半音时,它被称为增广音程。当您将完美音程降低半音时,称为音程。因此,不要将新的音程称为大音程或小音程,而是将它们称为增音程或减音程。

Okay, now you know that perfect intervals can’t be major or minor. That doesn’t mean that they can’t be altered, however. You can raise and lower fourths and fifths—however, the result is not called major or minor. When you raise a perfect interval a half step, it’s called an augmented interval. When you lower a perfect interval a half step, it’s called a diminished interval. So don’t call the new intervals major or minor—call them augmented or diminished.

笔记

NOTE

增四度和减五度是和谐的同一个音符。

An augmented fourth and a diminished fifth are enharmonically the same note.

例如,如果使用 C 作为根音,F 距离根音就是纯四度。如果您提高 F 音,则生成的音符(升 F 音)是根音上方的增四度音。

For example, if you use C as the root, F is a perfect fourth away from the root. If you sharpen the F, the resulting note (F-sharp) is an augmented fourth above the root.

同样,G 是 C 上方的纯五度。当您将 G 调平时,得到的音符(降 G)是根音上方的减五度。

Along the same lines, G is a perfect fifth above C. When you flatten the G, the resulting note (G-flat) is a diminished fifth above the root.

以下是关键的增减音程,以 C 为根音。

Here are the key augmented and diminished intervals, with C as the root.

增减音程,从 C 开始。

Augmented and diminished intervals, starting on C.

现在,为了混淆一下,其他类型的音程也可以称为减音程和增音程,而这些音程与完美音程无关。

Now, just to confuse things, other types of intervals can also be called diminished and augmented—and these intervals have nothing to do with the perfect intervals.

首先,您还可以通过将次要音程再降低半音来创建减小的音程。例如,F 到 D 降调是小六度;如果你将降 D 调平(是的,有双降调这种东西),得到的音程称为减六度。

To start, you can also create a diminished interval by lowering a minor interval by another half step. For example, F to D-flat is a minor sixth; if you flatten the D-flat (yes, there’s such a thing as a double flat), the resulting interval is called a diminished sixth.

您还可以通过将大调音程再提高半音来创建增强音程。例如,F到A是大三度;如果您锐化 A(升 A 音),则所得音程为增三度。

You can also create an augmented interval by raising a major interval by another half step. For example, F to A is a major third; if you sharpen the A (to A-sharp), the resulting interval is an augmented third.

幸运的是,您不必经常处理任何类型的减少或增加间隔。但您仍然需要知道它们是什么,以防万一!

Fortunately, you don’t have to deal with either type of diminished or augmented interval that often. But you still need to know what they are, just in case!

超越八度

Beyond the Octave

当您到达八度时,您不必停止计算音程。八度以上还有更多的音程——九度、十度、十一度等等。

You don’t have to stop counting intervals when you get to the octave. Above the octave are even more intervals—ninths, tenths, elevenths, and so on.

跨度超过一个八度的音程称为复合音程,因为它们将一个八度音程与较小的音程组合起来以创建较大的音程。例如,九度只不过是一个八度和一个二度;第十一个是八度,第四个……等等。

Intervals that span more than an octave are called compound intervals because they combine an octave with a smaller interval to create the larger interval. For example, a ninth is nothing more than an octave and a second; an eleventh is an octave and a fourth … and so on.

下表描述了八度以上的前六个音程。

The following table describes the first six intervals above the octave.

复合音程

Compound Intervals

间隔

Interval

联合收割机

Combines

第九

Ninth

八度加二度

Octave plus second

第十

Tenth

八度加三度

Octave plus third

第十一

Eleventh

八度加第四度

Octave plus fourth

第十二

Twelfth

八度加五度

Octave plus fifth

第十三

Thirteenth

八度加六度

Octave plus sixth

第十四

Fourteenth

八度加七度

Octave plus seventh

复合音程可以具有较小音程的所有品质,这意味着复合音程可以是(取决于音程)大调、小调、完美、增音或减音。

Compound intervals can have all the qualities of smaller intervals, which means a compound interval can be (depending on the interval) major, minor, perfect, augmented, or diminished.

音程和半步

Intervals and Half Steps

您可能更容易以半音来考虑所有这些音程。为此,下表显示了这些主要音程和次要音程之间有多少个半音。

It might be easier for you to think of all these intervals in terms of half steps. To that end, the following table shows how many half steps are between these major and minor intervals.

间隔之间的半步

Half Steps Between Intervals

间隔

Interval

半步数

Number of Half Steps

完美的一致

Perfect unison

0

0

小二度

Minor second

1

1

大二

Major second

2

2

小三度

Minor third

3

3

大三度

Major third

4

4

完美第四

Perfect fourth

5

5

增强第四

Augmented fourth

6

6

减少第五

Diminished fifth

6

6

完美五度

Perfect fifth

7

7

小六度

Minor sixth

8

8

大六度

Major sixth

9

9

小七度

Minor seventh

10

10

大七度

Major seventh

11

11

八度

Octave

12

12

小九度

Minor ninth

13

13

大九度

Major ninth

14

14

小十度

Minor tenth

15

15

大十度

Major tenth

16

16

完美第十一

Perfect eleventh

17 号

17

增强型第十一

Augmented eleventh

18

18

减少第十二位

Diminished twelfth

18

18

完美十二

Perfect twelfth

19

19

小十三

Minor thirteenth

20

20

大十三号

Major thirteenth

21

21

小十四

Minor fourteenth

22

22

主要第十四

Major fourteenth

23

23

特别注意那些等音相同的音程,例如增四度和减五度。您对特定音程的称呼取决于您前进的方向,以及在给定的音乐片段中哪种记谱法最容易阅读。

And take special note of those intervals that are enharmonically identical—such as the augmented fourth and the diminished fifth. What you call that particular interval depends on which direction you’re heading, and which notation is the easiest to read in a given piece of music.

模组12

Mod-12

到目前为止,您所学到的是传统的西方音乐记谱法,但这并不是记谱音高的唯一方法。如今,一些教育工作者使用所谓的Mod-12系统来教授音符和音程。在这个系统中,一个八度音程中 12 个半音之间的间隔被编号,从 0 到 11。(如果算上 0,则总共有 12 个间隔。)

What you’ve learned so far is traditional Western music notation—but it’s not the only way to notate musical pitches. Some educators today use what is called the Mod-12 system to teach notes and intervals. In this system, the intervals between the 12 half steps in an octave are numbered, from 0 to 11. (If you count the 0, that adds up to 12 intervals.)

例如,我们称为齐奏的音程在音符之间有零个半音,称为“音程 0”。我们称为小三度的音程有三个半音,称为“音程 3”。

For example, the interval we call unison has zero half steps between notes, and is called “interval 0.” The interval we call a minor third has three half steps, and is called “interval 3.”

使用该系统的好处是您不必担心等谐波。减五度和增四度都有六个半音,都称为“音程 6”。

The nice thing about using this system is that you don’t have to worry about enharmonics. A diminished fifth and an augmented fourth both have six half steps, and are both called “interval 6.”

您还可以使用 Mod-12 系统根据主音的音程来描述各个音符。主音当然是音符 0。小二度是音符 1,大二度是音符 2。如果你想描述主音、大三度和纯五度,你可以使用数字 0、4 和 7。

You can also use the Mod-12 system to describe individual notes—based on their interval from tonic. Tonic, of course, is note 0. The minor second degree is note 1, and the major second degree is note 2. If you wanted to describe the tonic, the major third degree, and the perfect fifth degree, you’d use the numbers 0, 4, and 7.

有些人喜欢使用 Mod-12 系统来教授音程,但我更喜欢本章前面介绍的老式方法,唯一的原因是这就是您在现实世界中会遇到的情况。当您在音乐会乐队或爵士三重奏中演奏时,您不会听到其他音乐家说“演奏 4、7、11”。你听到他们说“演奏大三度、五度和大七度”。

Some people like to use the Mod-12 system to teach intervals, but I prefer the old-fashioned method presented here earlier in this chapter, for the sole reason that this is what you’ll run into in the real world. When you’re playing in a concert band or a jazz trio, you won’t hear other musicians say “play 4, 7, 11.” You will hear them say “play the major third, fifth, and major seventh.”

不过,如果 Mod-12 适合您,请使用它。这是学习西方音乐中使用的 12 种音调的一种完全可以接受的方法,并且它使处理等音音符变得更加容易。

Still, if Mod-12 works for you, use it. It’s a perfectly acceptable way to learn the 12 tones we use in Western music—and it makes it a lot easier to deal with enharmonic notes.

练习

Exercises

练习2-1

Exercise 2-1

在每个音符之前添加升号。

Add sharps before each of these notes.

练习2-2

Exercise 2-2

在每个音符之前添加降号。

Add flats before each of these notes.

练习2-3

Exercise 2-3

输入比以下每个音符高八度的新音符。

Enter a new note an octave above each of the following notes.

练习2-4

Exercise 2-4

输入一个新音符,距前一个音符指定的半音数。(请记住在您输入的上一个注释之后开始每个新注释!)

Enter a new note a specified number of half steps from the previous note. (Remember to start each new note after the previous note you entered!)

练习2-5

Exercise 2-5

说出以下每个区间的名称。

Name each of the following intervals.

练习2-6

Exercise 2-6

使用第一个音符作为根音,输入第二个音符以创建指定的音程。

Using the first note as the root, enter a second note to create the specified interval.

练习2-7

Exercise 2-7

使用升号、降号和自然号,将以下大调音程更改为小调音程。

Using sharps, flats, and naturals, change the following major intervals to minor.

练习2-8

Exercise 2-8

使用升号、降号和自然号,将以下小调音程更改为大调。

Using sharps, flats, and naturals, change the following minor intervals to major.

您至少需要知道的

The Least You Need to Know

  • 任何两个音符之间的最小间隔称为半音。两个半步等于一个全步。
  • The smallest interval between any two notes is called a half step. Two half steps equal one whole step.
  • 升音将音符的音值提高半音。降音会使音符的价值降低半音。
  • A sharp raises the value of a note by a half step. A flat lowers the value of a note by a half step.
  • 任意两个音符之间的音程以程度来描述。例如,第一个音符和第三个音符之间的音程称为三度。
  • The intervals between any two notes are described in terms of degree. For example, the interval between the first and third notes is called a third.
  • 在大调音阶中,二度、三度、六度和七度称为大音程。您可以通过展平这些音符来创建小音程。
  • In a major scale, seconds, thirds, sixths, and sevenths are called major intervals. You can create a minor interval by flattening these notes.
  • 在大调音阶中,四度、五度和八度被称为完美音程。当你压平一个完美的音程时,你就创建了一个缩小的音程;当你锐化一个完美的音程时,你就创建了一个增强的音程。
  • In a major scale, fourths, fifths, and octaves are called perfect intervals. When you flatten a perfect interval, you create a diminished interval; when you sharpen a perfect interval, you create an augmented interval.

第三

CHAPTER

3

Scales

在这一章当中

In This Chapter

  • 将八个音符放在一起形成一个音阶
  • Putting eight notes together to form a scale
  • 创建大调和小调音阶
  • Creating major and minor scales
  • 发现大调范围内的不同调式
  • Discovering the different modes within a major scale

第 3 课,第 24 轨

Lesson 3, Track 24

在前两章中,我们讨论了七个要点(A 到 G),以及它们之间的相互关系。我们还用“音阶”这个词来描述所有七个音符。

In the first two chapters we discussed the seven key notes (A through G), and how they relate to each other. We also tossed around the word “scale” to describe all seven of those notes together.

在本章中,我们进一步研究音阶的概念,(毫不奇怪)它是按字母顺序连续排列的七个音符。(如果数第一个音符,在音阶顶部重复高八度,则为八个音符。)

In this chapter we further examine the concept of the musical scale, which (no surprise) is seven notes all in a row, in alphabetical order. (If you count the first note, repeated an octave higher at the top of the scale, it’s eight notes.)

令人惊讶的是,音阶有这么多不同类型。您可以有大调音阶、小调音阶(实际上是三种不同类型的小调音阶)或音阶内任意数量的不同调式。这听起来很令人困惑,但是一旦您了解音阶是如何构建的,并在不同音符之间使用不同的音程,它实际上就相当简单了。(你问什么是模式?你必须阅读整章才能找到答案!)

What might be surprising is that there are so many different types of scales. You can have a major scale, a minor scale (three different types of minor scales, actually), or any number of different modes within a scale. It sounds confusing, but it’s really fairly simple once you understand how scales are constructed, using different intervals between the various notes. (What’s a mode, you ask? You’ll have to read this entire chapter to find out!)

音阶很重要,因为你用它们来创作旋律,你将在第 8 章中了解这一点。事实上,您只需从音符中选取音符即可创作出动听的旋律。单一大调音阶。例如,使用 C 大调音阶(钢琴上的白色音符)并挑选一起演奏时听起来不错的音符。确保你的旋律在 C 音符上开始和结束,并且你刚刚写了一首简单的歌曲。

Scales are important because you use them to create melodies, which you’ll learn about in Chapter 8. In fact, you can create a nice-sounding melody just by picking notes from a single major scale. For example, use the C Major scale (the white notes on a piano) and pick and choose notes that sound good when played together. Make sure you start and end your melody on the C note itself, and you’ve just written a simple song.

八个音符等于一个音阶

Eight Notes Equal One Scale

简单来说,音阶就是一个八度范围内的八个连续音高。所有音阶都以一个音符开始,以高一个八度的同一音符结束。

A scale is, quite simply, eight successive pitches within a one-octave range. All scales start on one note and end on that same note one octave higher.

例如,每个C音阶都以C开始,以C结束;F 音阶以 F 开始,以 F 结束;它们之间还有六个音符。

For example, every C scale starts on C and ends on C; an F scale starts on F and ends on F; and they all have six more notes in between.

音阶的八个音符;在本例中,C 大调。

The eight notes of a scale; C Major, in this instance.

音阶的第一个音符称为音阶的主音一级。毫不奇怪,第二个音符被称为二度第三个音符被称为三度,依此类推,直到你到达第八个音符,它又是主音。

The first note of a scale is called the tonic, or first degree, of the scale. Not surprisingly, the second note is called the second degree, the third note is called the third degree, and so on—until you get to the eighth note, which is the tonic again.

八音音阶规则的主要例外是包含一个八度内所有音符的音阶,包括所有升号和降号。这种类型的音阶称为半音音阶,并且(当您从 C 开始时)看起来像这样:

The major exception to the eight-note scale rule is the scale that includes all the notes within an octave, including all the sharps and flats. This type of scale is called a chromatic scale, and (when you start with C) looks something like this:

C半音阶。顶部工作人员使用锐器显示刻度;底部的工作人员使用单位显示比例。

The C chromatic scale. The top staff shows the scale using sharps; the bottom staff shows the scale using flats.

现在,任何给定的尺度在不同程度之间都具有特定的关系。这就是描述不同类型音阶的方式:大调音阶的特定音符之间的音程与类似小调音阶中的音阶之间的音程不同。这些不同的音程赋予每种类型的音阶独特的声音。

Now, any given scale has specific relationships between the different degrees of the scale. That’s how you can describe different types of scales: a major scale has different intervals between specific notes from those you’ll find in a similar minor scale. These different intervals give each type of scale its unique sound.

提示

TIP

当您演奏一首音乐时,您通常会保持在指定音阶的音符范围内。在音阶之外弹奏的任何音符都称为半音音符。音阶内的音符被认为是全音阶的。例如,在C大调音阶中,C音是全音阶;升 C 音符是半音阶。尽管半音阶音符听起来可能与正常音阶音符“不同”,但它们可以为音乐增添色彩。(顺便说一下,这就是这个术语的由来;色度的意思是“颜色”。)

When you’re playing a piece of music, you typically stay within the notes of the designated scale. Any notes you play outside the scale are called chromatic notes; notes within the scale are said to be diatonic. For example, in the C Major scale, the note C is diatonic; the note C-sharp would be chromatic. Even though chromatic notes might sound “different” than the normal scale notes, they can add color to a piece of music. (That’s where the term comes from, by the way; chroma means “color.”)

最常见的音阶称为大调音阶。大调音阶是快乐音阶;他们每次都有令人愉快和预期的间歇。(只需唱“Do Re Mi Fa So La Ti Do”,您就会听到这种令人愉悦的音质。)

The most common scale is called the major scale. Major scales are happy scales; they have pleasant and expected intervals at every turn. (Just sing “Do Re Mi Fa So La Ti Do” and you’ll hear this pleasant quality.)

大调音阶的镜像是小调音阶。小调音阶是悲伤的音阶;音符之间的间隔听起来有点压抑。

The mirror image of the major scale is the minor scale. Minor scales are sad scales; the intervals between the notes sound a little depressing.

警告

WARNING

大多数音乐家不会将“小调”或其任何缩写词大写。大和弦记法(几乎)总是大写,小和弦记法(几乎)总是小写。

Most musicians don’t capitalize the word “minor,” or any of its abbreviations. Major chord notation is (almost) always capitalized, and minor chord notation is (almost) always lowercase.

大调和小调音阶都可以从任何音符开始——从降A到升G。无论您从哪个音符开始,每个音阶都有其特定的音符之间的音程组合。

Both major and minor scales can start on any note—from A-flat to G-sharp. No matter which note you start with, each scale has its own specific combination of intervals between notes.

以下部分将更详细地介绍大调和小调音阶。

The following sections go into more detail about both major and minor scales.

大调音阶

Major Scales

大调音阶的构成是音阶音符之间的特定音程。每个大调音阶都使用相同的音程,如下表所示。

What makes a major scale major are the specific intervals between the notes of the scale. Every major scale uses the same intervals, as shown in the following table.

大调音阶的音程

The Intervals of the Major Scale

笔记

Note

半步到下一个音符

Half Steps to Next Note

补品

Tonic

2

2

第二

Second

2

2

第三

Third

1

1

第四

Fourth

2

2

第五

Fifth

2

2

第六

Sixth

2

2

第七

Seventh

1

1

换句话说,大调音阶的音程如下:全、全、半、全、全、全、半。

Put another way, the intervals in a major scale go like this: whole, whole, half, whole, whole, whole, half.

如果您以 C(C 大调音阶)开始大调音阶,您最终会在钢琴上弹奏所有白键。C 大调是唯一只使用白键的大调音阶;所有其他音阶都有黑键。

If you start your major scale on C (the C Major scale), you end up playing all white keys on the piano. C Major is the only major scale that uses only the white keys; all the other scales have black keys in them.

为了方便您,下表列出了 15 个大调音阶的所有音符。

To make things easier for you, the following table shows all the notes in the 15 major scales.

15个大调音阶

The 15 Major Scales

规模

Scale

笔记

Notes

C大调

C Major

升C大调

C-sharp Major

降D大调

D-flat Major

D大调

D Major

降E大调

E-flat Major

E大调

E Major

F大调

F Major

升F大调

F-sharp Major

降G大调

G-flat Major

G大调

G Major

降A大调

A-flat Major

一个主要的

A Major

降B大调

B-flat Major

B大调

B Major

降C大调

C-flat Major

请注意,其中几个音阶是等音的。(还记得第一章中的那个词吗?它的意思是两个相同的音符,但拼写不同。)所以升 C 大调和降 D 大调只是描述相同音符的不同方式,升 F 大调和 G 也是如此。降大调、B 大调和降 C 大调。

Note that several of these scales are enharmonic. (Remember that word from Chapter 1? It means two notes that are identical, but spelled differently.) So C-sharp Major and D-flat Major are just different ways of describing the same notes, as are F-sharp Major and G-flat Major, and B Major and C-flat Major.

笔记

NOTE

任何音阶的第七个音符有时被称为主音,因为它导致音阶的主音。

The seventh note of any scale is sometimes called the leading note because it leads up to the tonic of the scale.

小调音阶

Minor Scales

小调音阶听起来比大调音阶稍微不那么“向上”。部分原因是小调音阶的第三个音符是小音程,而大调音阶的第三个音符是大调音程。小三度和大三度之间的那个小半音使世界变得不同!

Minor scales sound a little less “up” than major scales. This is partly because the third note of the minor scale is a minor interval, whereas the third note of the major scale is a major interval. That little half step between a minor third and a major third makes all the difference in the world!

不要让您感到困惑,虽然大调音阶只有单一类型,但小调音阶实际上有三种类型:自然音阶、和声音阶和旋律音阶。我们将分别研究每个尺度。

Not to confuse you, but whereas there was a single type of major scale, there actually are three types of minor scales: natural, harmonic, and melodic. We’ll look at each scale separately.

自然未成年人

Natural Minor

最容易构建的小调音阶是自然小调音阶。您可以根据相应的大调音阶来思考自然小调。当您以第六音符开始和结束大调音阶时,您会得到自然的小调音阶,而不是主音。

The easiest minor scale to construct is the natural minor scale. You can think of the natural minor in terms of its corresponding major scale. When you start and end a major scale on the sixth note, instead of the tonic, you get a natural minor scale.

下面是一个示例:弹奏 C 大调音阶 (CDEFGABC)。现在将五个音符向上移动到第六个音符,或者仅向下移动两个音符。(这是同样的事情——向上五个或向下两个——都把你放在A上。)现在演奏一个八音符音阶,但使用C大调的音符。您得到的是 A 小调(自然)音阶 ABCDEFGA。

Here’s an example: play a C Major scale (C D E F G A B C). Now move up five notes to the sixth note—or just move down two notes. (It’s the same thing—up five or down two—both put you on the A.) Now play an eight-note scale, but using the notes in C Major. What you get—A B C D E F G A—is the A minor (natural) scale.

笔记

NOTE

如果您从 A(A 小调音阶)开始自然小调音阶,您将在钢琴上弹奏所有白键。A 自然小调音阶是唯一仅使用白键的小调音阶;所有其他音阶都有黑键。

If you start your natural minor scale on A (the A minor scale), you will play all white keys on the piano. The A natural minor scale is the only minor scale that uses only the white keys; all the other scales have black keys in them.

正如您所看到的,每个自然小音阶与特定大调音阶具有相同的音调。下表显示了哪些小调音阶与哪些大调音阶相匹配。

As you can see, each natural minor scale shares the same tones as a specific major scale. The following table shows you which minor scales match up with which major scales.

相对大调和小调音阶

Relative Major and Minor Scales

大调音阶

Major Scale

相关自然小调音阶

Related Natural Minor Scale

C大调

C Major

未成年人

A minor

升C大调

C-sharp Major

升A小调

A-sharp minor

降D大调

D-flat Major

降B小调

B-flat minor

D大调

D Major

B小调

B minor

降E大调

E-flat Major

C小调

C minor

E大调

E Major

降 D(升 C)小调

D-flat (C-sharp) minor

F大调

F Major

D小调

D minor

升F大调

F-sharp Major

升D小调

D-sharp minor

降G大调

G-flat Major

降E小调

E-flat minor

G大调

G Major

E小调

E minor

降A大调

A-flat Major

F小调

F minor

一个主要的

A Major

升F小调(降G小调)

F-sharp (G-flat) minor

降B大调

B-flat Major

G小调

G minor

B大调

B Major

升G小调

G-sharp minor

降C大调

C-flat Major

降A小调

A-flat minor

每个自然小调音阶都使用相同的音程,如下表所示。

Every natural minor scale uses the same intervals, as shown in the following table.

自然小调音阶的音程

The Intervals of the Natural Minor Scale

笔记

Note

半步到下一个音符

Half Steps to Next Note

补品

Tonic

2

2

第二

Second

1

1

第三

Third

2

2

第四

Fourth

2

2

第五

Fifth

1

1

第六

Sixth

2

2

第七

Seventh

2

2

换句话说,自然小调音阶中的音程是这样的:全、半、全、全、半、全、全。

Put another way, the intervals in a natural minor scale go like this: whole, half, whole, whole, half, whole, whole.

为了让您更方便,下表列出了 15 个自然小调音阶的所有音符。

To make things easier for you, the following table shows all the notes in the 15 natural minor scales.

15个自然小调音阶

The 15 Natural Minor Scales

规模

Scale

笔记

Notes

C小调

C minor

升C小调

C-sharp minor

D小调

D minor

升D小调

D-sharp minor

降E小调

E-flat minor

E小调

E minor

F小调

F minor

升F小调

F-sharp minor

G小调

G minor

升G小调

G-sharp minor

降A小调

A-flat minor

未成年人

A minor

升A小调

A-sharp minor

降B小调

B-flat minor

B小调

B minor

和声小调

Harmonic Minor

和声小音阶与自然小音阶类似,只是第七个音符提高了半音。一些音乐家更喜欢这种类型的小调音阶,因为第七音符更好地引导音阶的主音。(这是主音的半音,而不是自然小调音阶的全音。)

The harmonic minor scale is similar to the natural minor scale, except the seventh note is raised a half step. Some musicians prefer this type of minor scale because the seventh note better leads up to the tonic of the scale. (It’s a half step up to the tonic, as opposed to the whole step in the natural minor scale.)

下表详细说明了和声小调音阶中音符之间的音程。

The following table details the intervals between the notes in the harmonic minor scale.

和声小调音阶的音程

The Intervals of the Harmonic Minor Scale

笔记

Note

半步到下一个音符

Half Steps to Next Note

补品

Tonic

2

2

第二

Second

1

1

第三

Third

2

2

第四

Fourth

2

2

第五

Fifth

1

1

第六

Sixth

3

3

第七

Seventh

1

1

换句话说,和声小调音阶中的音程是这样的:全,半,全,全,半,全半,半。

Put another way, the intervals in a harmonic minor scale go like this: whole, half, whole, whole, half, whole and a half, half.

为了让您更方便,下表显示了 15 个和声小音阶中的所有音符。

To make things easier for you, the following table shows all the notes in the 15 harmonic minor scales.

15 个和声小音阶

The 15 Harmonic Minor Scales

规模

Scale

笔记

Notes

C小调

C minor

升C小调

C-sharp minor

D小调

D minor

升D小调

D-sharp minor

降E小调

E-flat minor

E小调

E minor

F小调

F minor

升F小调

F-sharp minor

G小调

G minor

升G小调

G-sharp minor

降A小调

A-flat minor

未成年人

A minor

升A小调

A-sharp minor

降B小调

B-flat minor

B小调

B minor

注意:您在上表中的几个注释之前看到的“x”是双升号。这意味着您将基调提高两个半音。

Note: the “x” you see before several of the notes in the previous table is a double sharp. It means you raise the base note two half steps.

旋律小调

Melodic Minor

和声小音阶的唯一问题是第六音符和第七音符之间的音程是三个半音,而且音阶中很少有比两个半音更宽的音程。(唱起来太尴尬了。) 因此,旋律小音阶将自然小音阶的第六和第七音符各提高半音,从而产生以下音程。

The only problem with the harmonic minor scale is that the interval between the sixth and seventh notes is three half steps—and you seldom have an interval in a scale wider than two half steps. (It’s just too awkward to sing.) So the melodic minor scale raises both the sixth and seventh notes of the natural minor scale by a half step each, resulting in the following intervals.

旋律小调音阶的音程

The Intervals of the Melodic Minor Scale

笔记

Note

半步到下一个音符

Half Steps to Next Note

补品

Tonic

2

2

第二

Second

1

1

第三

Third

2

2

第四

Fourth

2

2

第五

Fifth

2

2

第六

Sixth

2

2

第七

Seventh

1

1

换句话说,旋律小调音阶中的音程是这样的:全、半、全、全、全、全、半。

Put another way, the intervals in the melodic minor scale go like this: whole, half, whole, whole, whole, whole, half.

为了让您更方便,下表列出了 15 个旋律小音阶的所有音符。

To make things easier for you, the following table shows all the notes in the 15 melodic minor scales.

15个旋律小调音阶

The 15 Melodic Minor Scales

规模

Scale

笔记

Notes

C小调

C minor

升C小调

C-sharp minor

D小调

D minor

升D小调

D-sharp minor

降E小调

E-flat minor

E小调

E minor

F小调

F minor

升F小调

F-sharp minor

G小调

G minor

升G小调

G-sharp minor

降A小调

A-flat minor

未成年人

A minor

升A小调

A-sharp minor

降B小调

B-flat minor

B小调

B minor

好像三个小调音阶不足以处理,一些音乐理论家仅在您要“提高”音阶时才使用这种旋律小调音阶。(他们称之为上升旋律小调音阶。)回到“下降”(下降旋律小调 音阶),他们使用自然小调音阶中的音符。因此,第六度和第七度在向上的过程中升高,但在向下的过程中不升高。理论家是然而,在这个问题上存在分歧;有些使用上升和下降的旋律小调音阶,有些则使用两种不同的音阶。只要您知道做事的替代方法,就可以使用此处介绍的单一比例。

As if three minor scales weren’t enough to deal with, some music theorists use this melodic minor scale only when you’re going “up” the scale. (They call this the ascending melodic minor scale.) Going back “down” (the descending melodic minor scale), they use the notes in the natural minor scale. So the sixth and the seventh degrees are raised on the way up, but not on the way down. Theorists are split on this issue, however; some use the melodic minor scale both ascending and descending, and others use the two different scales. It’s okay to use a single scale, as presented here, as long as you’re aware of the alternate way of doing things.

在模式中

In the Mode

如果音阶是八个连续音符的组合(当然是按字母顺序排列),那么任何八个音符都可以构成一个音阶吗?不必要。一旦你通过了大调和小调音阶,所有其他八音组合在技术上就不再被称为音阶;而是被称为音阶。它们被称为模式

If a scale is a combination of eight successive notes (in alphabetical order, of course), do any eight notes make a scale? Not necessarily. Once you get past the major and minor scales, all the other eight-note combinations aren’t technically called scales; they’re called modes.

有七种基本模式,您可以将每种模式视为从大调音阶的不同程度开始。你保持在相对大调音阶内;你只是从不同的音符开始。例如,多里安调式从大调音阶的第二度开始。就 C 大调音阶而言,多利安调式从 D 开始,并继续向上(D、E、F、G、A、B、C、D)。弗里吉亚调式也是如此,它从相关大调音阶的第三度开始——C 大调:E、F、G、A、B、C、D、E。

There are seven essential modes, each of which you can think of as starting on a different degree of the major scale. You stay within the relative major scale; you just start on different notes. For example, the Dorian mode starts on the second degree of the major scale. In relation to the C Major scale, the Dorian mode starts on D, and continues upward (D, E, F, G, A, B, C, D). The same holds true for the Phrygian mode, which starts on the third degree of the related major scale—in C Major: E, F, G, A, B, C, D, E.

笔记

NOTE

考虑与特定大调音阶相关的调式很方便,但调式本身就是音程的安排。实际上,任何模式都可以从任何音符开始。

It’s convenient to think of modes in relation to a specific major scale, but modes are arrangements of intervals in and of themselves. In practice, any mode can start on any note.

当您构建旋律时,模式很重要。当您根据特定模式创建旋律时,您可以在保留传统大调音阶的音符的同时创建不同的声音或感觉。您只需在不同的地方开始和停止即可。(基于特定调式的旋律称为调式旋律。)

Modes are important when you’re constructing melodies. When you create a melody based on a specific mode, you get to create a different sound or feel while staying within the notes of a traditional major scale. You just start and stop in different places. (Melodies based around specific modes are called modal melodies.)

笔记

NOTE

从时间顺序来看,调式早在音阶之前就已经出现了。我们今天使用的大调和小调音阶是在引入各种调式之后出现的,事实上,它们分别基于爱奥尼亚调式和风神调式。调式可以追溯到古希腊人以及毕达哥拉斯和亚里士多德的发现。调式的数量和使用在中世纪教会时代得到了扩展,被称为教堂调式,并以称为格里高利圣歌的素歌形式使用。

Chronologically, modes were around long before scales. The major and minor scales we use today came after the introduction of the various modes, and were, in fact, based on the Ionian and Aeolian modes, respectively. Modes date all the way back to the ancient Greeks, and the findings of Pythagoras and Aristotle. The number and use of modes were expanded in the era of the medieval church, where they were called church modes and used in the form of plainsong called Gregorian chant.

爱奥尼亚

Ionian

如果您是一名音乐家,您会一直演奏爱奥尼亚调式,但并不真正了解它,因为爱奥尼亚调式从相关大调音阶的主音开始,并且包含与大调音阶相同的音符。下表详细介绍了 Ionian 模式音符之间的半音。

If you’re a musician, you play the Ionian mode all the time without really knowing it because the Ionian mode starts on the tonic of the related major scale—and contains the same notes as the major scale. The following table details the half steps between the notes of the Ionian mode.

爱奥尼亚的间隔

The Intervals of the Ionian

笔记

Note

半步到下一个音符

Half Steps to Next Note

补品

Tonic

2

2

第二

Second

2

2

第三

Third

1

1

第四

Fourth

2

2

第五

Fifth

2

2

第六

Sixth

2

2

第七

Seventh

1

1

C 爱奥尼亚调式由以下音符组成:

The C Ionian mode consists of the following notes:

C 爱奥尼亚调式——就像 C 大调音阶一样。

The C Ionian mode—just like the C Major scale.

多利安

Dorian

多利安调式可以被认为是从大调音阶的第二个音符开始。它听起来有点像自然小调音阶,但有升高的六度。(要了解 Dorian 调式听起来是什么样子,请听听 Simon 和 Garfunkel 的《斯卡伯勒集市》;它完全是用 Dorian 调式创作的。) Dorian 调式中音符之间的间隔如下。

The Dorian mode can be thought of as starting on the second note of a major scale. It sounds a little like a natural minor scale, but with a raised sixth. (To get an idea what Dorian mode sounds like, listen to Simon and Garfunkel’s “Scarborough Fair”; it’s composed entirely in Dorian mode.) The intervals between notes in the Dorian mode are as follows.

多里安调式的音程

The Intervals of Dorian Mode

笔记

Note

半步到下一个音符

Half Steps to Next Note

补品

Tonic

2

2

第二

Second

1

1

第三

Third

2

2

第四

Fourth

2

2

第五

Fifth

2

2

第六

Sixth

1

1

第七

Seventh

2

2

D Dorian 与 C 大调相关,由以下音符组成:

D Dorian is relative to the key of C, and consists of the following notes:

D Dorian调式,相对于C调。

D Dorian mode, relative to the key of C.

弗里吉亚语

Phrygian

弗里吉亚调式可以被认为是从相关大调音阶的第三个音符开始。与多里安调式一样,它听起来像是自然的小调音阶,但第二度较低。弗里吉亚调式中音符之间的间隔如下。

The Phrygian mode can be thought of as starting on the third note of the related major scale. Like the Dorian mode, it sounds like a natural minor scale—but with a lowered second degree. The intervals between notes in the Phrygian mode are as follows.

弗里吉亚调式的音程

The Intervals of the Phrygian Mode

笔记

Note

半步到下一个音符

Half Steps to Next Note

补品

Tonic

1

1

第二

Second

2

2

第三

Third

2

2

第四

Fourth

2

2

第五

Fifth

1

1

第六

Sixth

2

2

第七

Seventh

2

2

E 弗里吉亚语与 C 调相关,由以下音符组成:

E Phrygian is relative to the key of C, and consists of the following notes:

E 弗里吉亚调式,相对于 C 调。

E Phrygian mode, relative to the key of C.

吕底亚语

Lydian

吕底亚调式可以被认为是从大调音阶的第四个音符开始。这是一个几乎大调的音阶,但有升高的第四音阶。吕底亚调式中音符之间的音程如下。

The Lydian mode can be thought of as starting on the fourth note of a major scale. It’s an almost-major scale, but with a raised fourth. The intervals between notes in the Lydian mode are as follows.

吕底亚调式的音程

The Intervals of the Lydian Mode

笔记

Note

半步到下一个音符

Half Steps to Next Note

补品

Tonic

2

2

第二

Second

2

2

第三

Third

2

2

第四

Fourth

1

1

第五

Fifth

2

2

第六

Sixth

2

2

第七

Seventh

1

1

F Lydian调式与C调相关,由以下音符组成:

F Lydian mode is relative to the key of C, and consists of the following notes:

F Lydian调式,相对于C调。

F Lydian mode, relative to the key of C.

混合吕底亚语

Mixolydian

Mixolydian 模式可以被认为是从相关大调音阶的第五个音符开始。与吕底亚调式一样,它听起来像是大调,但在这种情况下,第七度降低。Mixolydian 调式中音符之间的间隔如下表所示。

The Mixolydian mode can be thought of as starting on the fifth note of the related major scale. Like the Lydian mode, it’s sort of major sounding, but in this case with a lowered seventh. The intervals between notes in the Mixolydian mode are as shown in the following table.

混合利底阶的音程

The Intervals of the Mixolydian

笔记

Note

半步到下一个音符

Half Steps to Next Note

补品

Tonic

2

2

第二

Second

2

2

第三

Third

1

1

第四

Fourth

2

2

第五

Fifth

2

2

第六

Sixth

1

1

第七

Seventh

2

2

G Mixolydian调式与C调相关,由以下音符组成:

G Mixolydian mode is relative to the key of C and consists of the following notes:

C调的G Mixolydian调式。

G Mixolydian mode in the key of C.

风神

Aeolian

风神调式包含与自然小调音阶完全相同的音符。它可以被认为是从相关大调音阶的第六个音符开始。Aeolian 调式中音符之间的间隔如下。

The Aeolian mode contains the exact same notes as the natural minor scale. It can be thought of as starting on the sixth note of the related major scale. The intervals between notes in the Aeolian mode are as follows.

风模的间隔

The Intervals of the Aeolian Mode

笔记

Note

半步到下一个音符

Half Steps to Next Note

笔记

Note

半步到下一个音符

Half Steps to Next Note

补品

Tonic

2

2

第二

Second

1

1

第三

Third

2

2

第四

Fourth

2

2

第五

Fifth

1

1

第六

Sixth

2

2

第七

Seventh

2

2

当您演奏布鲁斯和爵士乐曲时,您会经常使用 Aeolian 模式。Aeolian 与 C 调相关,由以下音符组成:

You use the Aeolian mode a lot when you play blues and jazz tunes. A Aeolian is relative to the key of C, and consists of the following notes:

风神调式,相对于 C 调。

A Aeolian mode, relative to the key of C.

洛克里安

Locrian

洛克里安调式可以被认为是从相关大调音阶的第七个音符开始。这可能是所有调式中听起来最奇怪的,因为所有主音符都在错误的位置。在过去,Locrian只是一种仅存在于理论上的模式;它没有用于实际音乐中。然而,如今,洛克里安模式已用于一些爵士乐和一些新音乐作品中。Locrian调式中音符之间的间隔如下。

The Locrian mode can be thought of as starting on the seventh note of the related major scale. It’s probably the weirdest sounding of all the modes, because all the leading notes are in all the wrong places. Back in olden times, Locrian was a mode that existed in theory only; it wasn’t used in actual music. Today, however, the Locrian mode is used in some jazz music, and in some new music compositions. The intervals between notes in the Locrian mode are as follows.

Locrian模态的音程

The Intervals of the Locrian Mode

笔记

Note

半步到下一个音符

Half Steps to Next Note

补品

Tonic

1

1

第二

Second

2

2

第三

Third

2

2

第四

Fourth

1

1

第五

Fifth

2

2

第六

Sixth

2

2

第七

Seventh

2

2

B Locrian 与 C 大调相关,由以下音符组成:

B Locrian is relative to the key of C, and consists of the following notes:

B Locrian调式,相对于C调。

B Locrian mode, relative to the key of C.

练习

Exercises

练习3-1

Exercise 3-1

说出下列大调音阶的名称。

Name the following major scales.

练习3-2

Exercise 3-2

说出下列小调音阶的名称。

Name the following minor scales.

练习3-3

Exercise 3-3

输入以下大调音阶的音符。

Enter the notes for the following major scales.

练习3-4

Exercise 3-4

输入以下小调音阶的音符。

Enter the notes for the following minor scales.

练习3-5

Exercise 3-5

说出与以下大调音阶相关的自然小音阶,并输入这些音阶的音符。

Name the natural minor scales related to the following major scales, and enter the notes for those scales.

练习3-6

Exercise 3-6

在 C 大调音阶内输入以下调式的音符。

Enter the notes for the following modes, within the C Major scale.

您至少需要知道的

The Least You Need to Know

  • 音阶由八个音符组成,其字母名称按连续的字母顺序排列。
  • A scale consists of eight notes whose letter names are in successive alphabetical order.
  • 音阶可以是大调或小调。(并且有三种不同类型的小调音阶!)
  • Scales can be either major or minor. (And there are three different types of minor scales!)
  • 所有大调音阶的不同音符之间都有相同的音程,无论它们从哪个音符开始。
  • All major scales have the same intervals between different notes, no matter what note they start on.
  • 调式就像音阶一样,由连续的八个音符组成,但不仅限于大调和小调。调式源自古希腊人和(后来的)中世纪教堂,可以被认为是从相关大调音阶的不同程度开始的。
  • A mode, like a scale, consists of eight notes in a row—but aren’t limited to just major and minor. Modes are derived from the ancient Greeks and (later) the medieval church, and can be thought of as starting on different degrees of the related major scale.

第4

CHAPTER

4

大调和小调

Major and Minor Keys

在这一章当中

In This Chapter

  • 了解大调和小调
  • Understanding major and minor keys
  • 使用调号签名确定调号
  • Determining key by using key signatures
  • 使用五度圈
  • Using the circle of fifths
  • 应用记号和更改调
  • Applying accidentals and changing keys

如果您正在创作 C 大调音阶的音乐,那么一切都会很容易。所有的音符都落在高音和低音谱号的线条和空间中;不需要升号或降号。(而且,如果您弹钢琴,则不必使用那些棘手的黑键!)

If you’re writing music within the C Major scale, you have it easy. All the notes fall in the lines and spaces of the treble and bass clefs; no sharps or flats are necessary. (And, if you’re playing the piano, you don’t have to use those tricky black keys!)

但是,如果您使用其他音阶创作音乐,则必须使用临时记号来升高和降低钢琴键盘上白键之外的音符。例如,如果您使用 F 大调音阶,则需要处理令人讨厌的降 B 调。

However, if you’re writing music using another scale, you have to use accidentals to raise and lower notes beyond the white keys on the piano keyboard. For example, if you’re using the F Major scale, you have a pesky B-flat to deal with.

现在,您可以在音乐中的每个降 B 调前面放置一个降调标志。然而,你最终会写出很多平底曲——这是一个很大的痛苦。

Now, you could put a flat sign in front of every B-flat in your music. However, you’ll end up writing a lot of flats—which is a major pain in the butt.

幸运的是,有一种简单的方法可以在整首音乐中指定一致的降号和升号,而无需注意每个实例。这种方法需要音调的知识——这恰好对应于我们在前一章中讨论的音阶。

Fortunately, there’s an easy way to designate consistent flats and sharps throughout an entire piece of music, without noting each and every instance. This approach requires the knowledge of musical keys—which just happen to correspond to the musical scales we discussed in the previous chapter.

成功的关键

Keys to Success

当一首音乐基于特定的音阶时,我们说音乐位于该音阶的“调”中。例如,一首基于 C 大调音阶的歌曲采用 C 大调。一首基于降 B 大调音阶的歌曲采用降 B 大调调。

When a piece of music is based on a particular musical scale, we say that music is in the “key” of that scale. For example, a song based around the C Major scale is in the key of C Major. A song based around the B-flat Major scale is in the key of B-flat Major.

当您为一首音乐(或一首较大乐曲中的某个部分)分配调时,假定该音乐中的大多数音符将保持在相应的音阶内。因此,如果一首曲子是用A大调写的,那么旋律和和弦中的大部分音符都应该在A大调音阶内。(当然,也有例外;它们被称为临时记号;本章稍后将讨论它们。)

When you assign a key to a piece of music (or to a section within a larger piece), it’s assumed that most of the notes in that music will stay within the corresponding scale. So if a piece is written in A Major, most of the notes in the melody and chords should be within the A Major scale. (There are exceptions to this, of course; they’re called accidentals; they’re discussed later in this chapter.)

使用调号

Using Key Signatures

为一首音乐分配特定调的一个方便之处在于,它使您能够预先指定适当的升号和降号,而不必每次在音乐中出现时都重复它们。

One of the convenient things about assigning a particular key to a piece of music is that it enables you to designate the appropriate sharps and flats up front, without having to repeat them every time they occur in the music.

这是它的工作原理。您可以通过在音乐的开头插入调号来指定调号,即第一个谱表的第一个谱号旁边。该调号表示该特定调中使用的升号和降号。然后,当您弹奏整首曲子时,您会自动锐化和压平适当的音符。

Here’s how it works. You designate a key by inserting a key signature at the very start of the music, next to the first clef on the first staff. This key signature indicates the sharps and flats used in that particular key. Then, when you play through the entire piece, you automatically sharpen and flatten the appropriate notes.

例如,假设您围绕 F 大调音阶写一首歌曲。如果您还记得的话,F 大调音阶有一个降音符:降 B。因此,在第一根谱表的第一个谱号旁边,您在 B 线上放置了一个降号。现在,当你播放那首歌时,每次看到 B 时,你实际上是在演奏降 B 调。

For example, let’s say you write a song around the F Major scale. The F Major scale, if you recall, has one flatted note: B-flat. So next to the first clef on the first staff, you put a flat sign on the B line. Now, when you play that song, every time you see a B, you actually play B-flat.

F 调的调号。(注意 B 线上的降号,表示自动降 B 调。)

The key signature for the key of F. (Note the flat sign on the B line, indicating the automatic B-flat.)

如果您弹奏 G 调,则同样适用,该调有一个升号:F 升号。你在第一根谱线的顶部 F 线上画了一个尖锐的符号;然后每次你看到 F 时,你都会弹奏升 F 音。

The same would apply if you were playing in the key of G, which has one sharp: F-sharp. You put a sharp sign on the top F line on the first staff; then every time you see an F, you play an F-sharp.

确定调号

Determining the Key Signature

如何快速确定您正在查看哪个调号?这取决于调号是包含升号还是降号。

How can you quickly determine which key signature you’re looking at? It depends on whether the key signature contains sharps or flats.

如果调号包含降号,则关键(无双关语)是查看倒数第二个降号——右侧最远降号旁边的降号。该音符决定调号。

If the key signature includes flats, the key (no pun intended) is to look at the next-to-last flat—the one next to the farthest one on the right. This note determines the key signature.

例如,如果一个调号有两个降调,您可以查看倒数第二个降调并确定该调是降 B 调,事实也确实如此。如果调号包含三个降号,您可以查看倒数第二个降号,并确定该调是降 E 号。这很容易。

For example, if a key signature has two flats, you look at the next-to-last flat and determine that the key is B-flat, which it is. If the key signature has three flats, you look at the next-to-last flat, and determine that the key is E-flat. It’s pretty easy.

但如果只有一套公寓怎么办?没有倒数第二套公寓!对于只有一个降号的调号,调是 F。您必须记住那个调,就像记住没有降号或升号的调一样,也就是 C 调。

But what do you do if there’s only one flat? There’s no next-to-last flat! For the key signature with a single flat, the key is F. You’ll have to memorize that one, as you will the key with no flats or sharps—which is the key of C.

如果调号包含升号,则方法不同。对于升号,要知道调号中的最后一个升号代表该特定音阶的第七度,因此音阶的主音是下一个音符。换句话说,看最后一个升号,接下来的升号才是关键。

If the key signature includes sharps, the method is different. With sharps, know that the last sharp in the key signature represents the seventh degree of that particular scale, so the tonic of the scale is the next note up. In other words, look at the last sharp, and the next note up is the key.

以升号的调号为例。该升号位于升 F 音符上,因此下一个向上的音符会告诉您该调是 G。如果调号有两个升号,则最后一个位于升 C 音符上,而下一个向上的音符是 D —这是你的钥匙。对于所有其他尖锐的调号,依此类推。

Take, for example, the key signature with one sharp. That sharp is on the note F-sharp, so the next note up tells you that the key is G. If the key signature has two sharps, the last one is on the note C-sharp, and the next note up is D—which is your key. And so on for all the other sharp key signatures.

大调

Major Keys

正如有15个大音阶(包括三个等音)一样,有15个大调;每个都有自己的调号。下表显示了这些调号中每个调的外观及其相应的音阶。

Just as there are 15 major scales (including three enharmonics), there are 15 major keys; each with its own key signature. The following table shows what each key of these key signatures looks like, along with its corresponding scale.

15 个主要按键

The 15 Major Keys

钥匙

Key

调号和音阶

Key Signature and Scale

C大调

C Major

升C大调

C-sharp Major

降D大调

D-flat Major

D大调

D Major

降E大调

E-flat Major

E大调

E Major

F大调

F Major

升F大调

F-sharp Major

降G大调

G-flat Major

G大调

G Major

降A大调

A-flat Major

一个主要的

A Major

降B大调

B-flat Major

B大调

B Major

降C大调

C-flat Major

小调

Minor Keys

用于指示大调的调号也可以表示自然小调。正如您在第 3 章中所记得的那样,自然小调音阶基于与大调音阶相同的音符,但从音阶的第六个音符开始。同样的方法也适用于调,因此(例如)A 小调的调使用与 C 大调相同的音符和相同的调号。

The key signatures used to indicate major keys also can represent natural minor keys. As you remember from Chapter 3, a natural minor scale is based on the same notes as a major scale, but starts on the sixth note of the scale. This same method applies to keys, so that (for example) the key of A minor uses the same notes—and the same key signature—as C major.

下表显示了 15 个小调及其相应的调号和音阶。

The following table shows the 15 minor keys, with their corresponding key signatures and scales.

15 个小调

The 15 Minor Keys

规模

Scale

笔记

Notes

与此主键相同

Same as This Major Key

未成年人

A minor

C大调

C Major

升A小调

A-sharp minor

升C大调

C-sharp Major

降B小调

B-flat minor

降D大调

D-flat Major

B小调

B minor

D大调

D Major

C小调

C minor

降E大调

E-flat Major

升C小调

C-sharp minor

E大调

E Major

D小调

D minor

F大调

F Major

升D小调

D-sharp minor

升F大调

F-sharp Major

降E小调

E-flat minor

降G大调

G-flat Major

E小调

E minor

G大调

G Major

F小调

F minor

降A大调

A-flat Major

升F小调

F-sharp minor

一个主要的

A Major

G小调

G minor

降B大调

B-flat Major

升G小调

G-sharp minor

B大调

B Major

降A小调

A-flat minor

降C大调

C-flat Major

五度圈

The Circle of Fifths

有一种快速方法可以记住每个调号中包含多少个升号或降号;它被称为五度圈,它的工作原理如下。

There’s a quick way to remember how many sharps or flats to include with each key signature; it’s called the circle of fifths, and it works like this.

从 C 调开始,每向上移动一个纯五度,就添加一个升号。所以 G 调(C 上的纯五度)有一个升号。D 调(G 之上的纯五度)有两个升号,依此类推。

Starting with the key of C, for every perfect fifth you move up, you add a sharp. So the key of G (a perfect fifth up from C) has one sharp. The key of D (a perfect fifth up from G) has two sharps, and so on.

对于降音来说,五度圈的作用相反。从 C 向下移动一个完美的五度,就增加一个降音。所以 F 调(从 C 降下的纯五度)有一个降号。降 B 调(从 F 向下的纯五度)有两个降号,依此类推。

The circle of fifths works in the other direction for flats. For every perfect fifth you move down from C, you add a flat. So the key of F (a perfect fifth down from C) has one flat. The key of B-flat (a perfect fifth down from F) has two flats, and so on.

下图显示了五度圈中所有大调的关系。当您绕着圆圈顺时针移动时,您将向上移动五度音阶(和升调键);当您逆时针移动时,您将向下移动五度(以及降调)。

The following drawing shows how all the major keys relate in the circle of fifths. When you move clockwise around the circle, you’re moving up through the fifths (and the sharp keys); when you move counterclockwise, you’re moving down through the fifths (and the flat keys).

所有大调在五度圈中都相隔五度。

All the major keys are a fifth apart in the circle of fifths.

下图显示了 15 个小调的五度圈。它的工作原理与主调圈相同;顺时针移动锐键,逆时针移动平键。

The next figure shows the circle of fifths for the 15 minor keys. It works just the same as the major-key circle; move clockwise for the sharp keys, and counterclockwise for the flat keys.

五度圈也适用于小调。

The circle of fifths works for minor keys, too.

意外将会发生

Accidents Will Happen

当您为一首音乐分配调号时,假定以下所有音符都将对应于该特定调。那么,如何指示不属于该调的音符呢?

When you assign a key signature to a piece of music, it’s assumed that all the following notes will correspond to that particular key. How, then, do you indicate notes that fall outside that key?

首先,请注意您可以在琴键外演奏。例如,当您使用 F 调(通常为降 B 调)时,偶尔弹奏自然 B 调是可以的。没有人会因此逮捕你——事实上,某些类型的音乐经常使用非音阶音符。

First, note that you can play outside a key. For example, it’s okay to play the occasional B natural when you’re in the key of F, which normally has a B-flat. No one will arrest you for it—in fact, certain types of music regularly employ nonscale notes.

笔记

NOTE

爵士乐和布鲁斯音乐经常在指定的大调中添加降三度和七度,这赋予了这些风格独特的声音。

Jazz and blues music often add flatted thirds and sevenths within the designated major key, which gives these styles their unique sound.

当您决定编写不在当前调内的音符时,您必须通过使用升号、降号或自然符号来手动指示音乐中的变化。当音乐家看到插入的升号、降号或自然号时,他们知道要按照书面演奏音符,而不是按照音乐的调号指示演奏。

When you decide to write a note that isn’t within the current key, you have to manually indicate the change in the music—by using sharp, flat, or natural signs. When musicians see the inserted sharp, flat, or natural, they know to play the note as written, rather than as indicated by the music’s key signature.

这些“调外”音符称为临时记号半音音符它们很常见。

These “outside the key” notes are called accidentals or chromatic notes; they’re quite common.

例如,假设一首音乐采用 F 调,只有一个降调(降 B 调)。您希望您的旋律包含降E调,但它不在调中。因此,当您到达该音符时,您在 E 之前插入一个降号以表示降 E。就这么简单。

For example, let’s say a piece of music is in the key of F, which has only one flat (B-flat). You want your melody to include an E-flat, which isn’t in the key. So when you get to that note, you insert a flat sign before the E to indicate an E-flat. It’s as simple as that.

使用记号来指示当前调号之外的音符。

Use accidentals to indicate notes outside the current key signature.

警告

WARNING

临时记号仅适用于小节中的这一点到小节的结尾。它不会影响临时记号出现之前小节中的那些音符。

An accidental applies only from that point in the measure to the end of the measure. It doesn’t affect those notes in the measure before the accidental appears.

如果您想在同一首乐曲中包含 B 自然音,而不是预期的降 B 调,则可以使用相同的方法。只需在 B 之前插入自然号即可。

The same approach applies if you want to include a B natural in the same piece, instead of the expected B-flat. Simply insert a natural sign before the B.

当您用临时记号更改音符时,临时记号将一直有效,直到当前小节结束。在下一个小节开始时,假设所有音符都恢复到当前调中应有的状态。因此,如果您在 F 大调旋律的第一小节中降 E,则您在第二小节中写的第一个 E 将被认为是自然的,而不是降的。

When you change a note with an accidental, that accidental applies until the end of the current measure. At the start of the next measure, it’s assumed that all notes revert to what they should be in the current key. So if you flat an E in measure one of an F Major melody, the first E you write in measure two will be assumed to be natural, not flatted.

当您将一个音符从一个小节的末尾连接到下一个小节的开头时,就会出现一个例外。由于并列,意外结转至第二小节中的第一个音符,如以下示例所示。(关系在第 5 章中进行了解释。)请注意,临时记号不适用于第二小节中的任何后续音符;它仅适用于捆绑票据。

The one exception occurs when you tie a note from the end of one measure to the beginning of the next. The accidental carries over—thanks to the tie—to that first note in the second measure, as you can see in the following example. (Ties are explained in Chapter 5.) Note that the accidental doesn’t apply to any subsequent notes in the second measure; it applies only to the tied note.

记号适用于与小节相关的所有音符。

Accidentals apply to all notes tied over a measure.

如果您认为其他音乐家可能对某个音符是否已恢复正常感到困惑,可以使用礼貌的升号、降号或自然符号。(这是一个放在括号内的符号。)这提醒读者注释已恢复到该键中的正常状态。您不必使用礼貌标志,但当音乐很复杂时,它会很有帮助。

If you think other musicians might be confused about whether a note has reverted back to normal, it’s okay to use a courtesy sharp, flat, or natural sign. (This is a sign placed within parentheses.) This reminds the reader that the note has reverted back to its normal state in that key. You don’t have to use courtesy signs, but when the music is complicated, it can be helpful.

一次礼貌的意外提醒音乐家,改变的音符已恢复正常。

A courtesy accidental reminds musicians that a changed note has reverted back to normal.

更改按键

Changing Keys

一些长音乐作品并不总是在整个作品中使用相同的调。事实上,一些简短的流行歌曲中途会改变调。这是允许的。

Some long pieces of music don’t always use the same key throughout the entire piece. In fact, some short pop songs change keys midway through. It’s allowed.

当您在歌曲中间更改调时,称为调制到另一个调。您可以调制到任何调,但最常见的调制是上半音(例如,从 E 大调到 F 大调),或上四度或五度(例如,从 E 大调到 A 大调或 B 大调) 。

When you change keys in the middle of a song, it’s called modulating to another key. You can modulate to any key, although the most common modulations are up a half step (from E Major to F Major, for example), or up a fourth or fifth (from E Major to either A Major or B Major, for example).

提示

TIP

半步转调在二十世纪的流行音乐中最常见,可以为流行歌曲的结尾添加“提升”。第四或第五转调在十七世纪至十九世纪的古典音乐中更为常见。

The half-step modulation is most common in twentieth-century popular music, and can add a “lift” to the end of a pop song. The fourth or fifth modulation is more common in classical music of the seventeenth through the nineteenth centuries.

当您想要更改调时,可以通过在新调的第一个小节中插入新的调号来表明这一点。就这么简单,如下图所示。(请注意,每当有调性变化时,一些作曲家和编曲家也会插入双小节。)

When you want to change keys, you indicate this by inserting a new key signature in the first measure of the new key. It’s as simple as that, as you can see in the following figure. (Note that some composers and arrangers also insert a double bar whenever there’s a key change.)

要更改调号,请插入新的调号。

To change keys, insert a new key signature.

提示

TIP

如果需要,您可以通过在旧调的最后一个乐谱的最末端放置适当的升号和降号来提醒音乐家注意调号变化,以及在以下小节中使用新的调号。这种方法完全是可选的;在新调的第一小节中用单个调号签名来表示调性更改是完全可以接受的。

If you want, you can alert musicians to a key change by placing the appropriate sharps and flats at the very end of the last staff of the old key—as well as with a new key signature in the following measure. This approach is entirely optional; it’s perfectly acceptable to signal the key change with a single key signature in the first measure of the new key.

唯一复杂的调性变化是当您更改为 C 调时,它没有升号或降号。您可以通过使用自然符号来抵消之前的升号或降号来表明这一点,如下所示:

The only complicated key change is when you’re changing to the key of C—which has no sharps or flats. You indicate this by using natural signs to cancel out the previous sharps or flats, like this:

怎么改成C调.

How to change to the key of C.

练习

Exercises

练习4-1

Exercise 4-1

标记以下主要调号。

Label the following major key signatures.

练习4-2

Exercise 4-2

标记以下小调签名。

Label the following minor key signatures.

练习4-3

Exercise 4-3

创建指定的大调签名。

Create the indicated major key signatures.

练习4-4

Exercise 4-4

创建指定的小调签名。

Create the indicated minor key signatures.

练习4-5

Exercise 4-5

使用初始调号作为指导,在以下示例中标记每个音符。

Using the initial key signature as a guide, label each note in the following example.

练习4-6

Exercise 4-6

确定可以使用什么调号来编写这段没有记号的旋律,然后在五线谱的开头输入该调号。

Determine what key signature you could use to write this melody without accidentals, and enter that key signature at the beginning of the staff.

练习4-7

Exercise 4-7

确定可以使用什么调号来编写这段没有记号的旋律,然后在五线谱的开头输入该调号。

Determine what key signature you could use to write this melody without accidentals, and enter that key signature at the beginning of the staff.

练习4-8

Exercise 4-8

按照五度圈,为每个连续的大调签名添加适当数量的降号,然后为每个调号添加标签。

Following the circle of fifths, add the appropriate number of flats to each successive major key signature, and then label each key signature.

您至少需要知道的

The Least You Need to Know

  • 您使用调号来指示您的音乐基于什么音阶。
  • You use key signatures to indicate what scale your music is based on.
  • 调号中的升号和降号会自动应用到整首歌曲中。
  • The sharps and flats in a key signature are automatically applied throughout the entire song.
  • 要指示当前调之外的音符,请使用变记号 - 升号、降号和自然记号。
  • To indicate notes outside the current key, use accidentals—sharps, flats, and natural signs.
  • 要更改音乐中间的调,请插入新的调号。
  • To change the key in the middle of a piece of music, insert a new key signature.

第二部分

PART

2

节奏

Rhythms

您不必成为鼓手才能感受到节拍。本部分向您展示如何记下任何类型的节奏,从简单的全音符到十六分音符切分音。您还将学习有关拍号、节奏和力度的所有知识,以及如何驾驭一首音乐。

You don’t have to be a drummer to feel the beat. This part shows you how to notate any type of rhythm, from simple whole notes to sixteenth note syncopations. You also learn all about time signatures, tempo, and dynamics as well as how to navigate your way through a piece of music.

第5

CHAPTER

5

注释值和基本符号

Note Values and Basic Notation

在这一章当中

In This Chapter

  • 将节拍分组为小节
  • Grouping beats into measures
  • 了解全音符、二分音符、四分音符、八分音符、十六分音符和休止符
  • Understanding whole, half, quarter, eighth, and sixteenth notes and rests
  • 使用点音符和领带
  • Using dotted notes and ties
  • 将节拍分成三连音
  • Dividing beats into triplets

第 4 课,第 27 课

Lesson 4, Track 27

本书的第 1 部分介绍了如何使用音高,但这只是您需要了解的音乐理论的一半。在本章中,我们将讨论方程的另一半,这就是你如何处理时间——在音乐中,这被称为节奏。

Part 1 of this book covered how to work with pitch—but that’s only half of the music theory that you need to know. In this chapter, we’ll deal with the other half of the equation, which is how you work with time—which, in music, is called rhythm.

节奏是推动音乐前进并赋予其节拍的动力。要学习节奏,您必须了解音符值。这种类型的乐谱实际上并不难。您需要学习的只是一些基础数学以及如何数到四。

Rhythm is what drives the music forward and gives it its beat. To learn rhythm, you have to learn about note values. This type of music notation isn’t that hard, really. All you need to learn is a little basic math and how to count to four.

然而,在开始之前,让我们为本章制定一些基本规则。尽管很多歌曲都是用四个节拍来写的——一、二、三、四——但这并不是通用的。一些非常流行的歌曲每小节只有三个节拍。(想想《音乐之声》中的“我最喜欢的东西” 。)而其他曲调,尤其是爵士乐和古典曲风,每小节都有四个以上的节拍。

Before we start, however, let’s lay down some ground rules for this chapter. Although a lot of songs are written with four beats to a measure—one, two, three, four—that isn’t a universal. Some very popular songs only have three beats to a measure. (Think “My Favorite Things,” from The Sound of Music.) And other tunes, especially in the jazz and classical genres, have more than four beats per measure.

为了更容易学习基础知识,在本章中我们只讨论四拍小节——我们称之为4/4 拍所有其他类型的节拍——三拍、五拍、七拍等等——将在第 6 章中介绍。

To make it easier to learn the basics, in this chapter we’re only going to address four-beat measures—what we call 4/4 time. All the other types of beats—three, five, seven, whatever—will be covered in Chapter 6.

就是为什么我说你只需要知道如何数到四!

And that’s why I said you only have to know how to count to four!

衡量事物

Taking the Measure of Things

节奏就是计数。聆听您最喜欢的流行歌曲,感受节奏。(来吧,用脚打点——没关系!)你可能会感觉到节拍分为四组——一、二、三、四;一二三四 …。这很容易听到,因为它非常自然。

Rhythm is about counting. Listen to your favorite pop song, and feel the beat. (Go ahead, tap your foot—it’s okay!) You’ll likely feel the beats fall into groups of four—one, two, three, four; one, two, three, four …. It’s easy to hear because it’s very natural.

让我们举一个具体的例子:“玛丽有一只小羊羔。” 这首歌的音符分为四个组;只需将“玛丽有一个”替换为“一二三四”,您就会看到它是如何工作的。

Let’s use a specific example: “Mary Had a Little Lamb.” The notes of the song fall into groups of four; just replace the words “Ma-ry had a” with “one two three four” and you see how it works.

在这首歌曲和其他以四拍为一组的歌曲中,每组四拍称为一个小节是一个容纳特定数量节拍的容器。在标准 4/4 拍中,一个小节相当于四个四分音符。小节的开始和结束由小节线表示,如下所示:

In this and other songs based around groups of four, each group of four beats is called a measure, a container that holds a specific number of beats. In standard 4/4 time, a measure holds the equivalent of four quarter notes. The beginning and end of a measure are signified by bar lines, like this:

针对员工的一组措施;每个小节由左右小节线分隔。

A group of measures on a staff; each measure is separated by left and right bar lines.

小节中的第一拍算作一拍。第二拍算作二拍。第三拍算三拍,最后一拍算四拍。没有五个;如果你数出五,你就数太多了!每当你打到四时,下一拍总是一拍。

The first beat in a measure is counted as one. The second beat is counted as two. The third beat is counted as three, and the last beat is counted as four. There is no five; if you count out five, you’ve counted too far! Whenever you hit four, the next beat is always one.

每经过四个节拍——一、二、三、四——另一小节就完成了。如果你把足够多的措施放在一起——一、二、三、四;一、二、三、四——你有一首歌。

Every time four beats go by—one, two, three, four—another measure is completed. If you put enough measures together—one, two, three, four; one, two, three, four—you have a song.

做笔记——笔记

Taking Note—of Notes

每次您唱歌或演奏一个音调时,您也在唱歌或演奏一个音符值。音符值有不同类型,每个音符值表示特定的时间长度(以小节的各个部分来衡量)。

Every time you sing or play a tone, you’re also singing or playing a note value. There are different types of note values, with each note value signifying a specific length of time—as measured by parts of a measure.

为了更好地解释,我们必须了解一些数学知识。(不用担心,不会有任何故事问题!)您会看到,每个音符值持续特定的持续时间,每个持续时间反映了与持续时间的比率。从下图中可以看出,每个较短的音符恰好是前一个音符时长的一半。所以如果你能除以二并乘以二,这应该很容易。

To better explain, we have to get into a little math. (Don’t worry—there won’t be any story problems!) You see, each note value lasts a specific duration, and each duration reflects a ratio to duration. As you can see from the following figure, each shorter note is precisely half the duration of the previous note. So if you can divide and multiply by two, this should be easy.

最常见的节奏音符;每个较小的音符恰好是前一个音符的一半。

The most common rhythmic notes; each smaller note is exactly half the previous note.

完整笔记

Whole Notes

最基本的音符称为全音符。它被称为全音符,因为在 4/4 拍子中(我们很快就会讲到这一点——我保证!),它会持续一个小节。因为 4/4 拍子在一个小节中有四个节拍,所以整个音符持续四个节拍。整个音符看起来就像一个大的空椭圆形,美观而完整。

The most basic note is called the whole note. It’s called a whole note because, in 4/4 time (we’ll get to this soon—I promise!), it lasts a whole measure. Because 4/4 time has four beats in a measure, a whole note lasts four beats. A whole note looks like a big empty oval, nice and whole.

整个音符,位于五线谱的不同位置。

Whole notes, at different places on the staff.

当您将整个音符放入 4/4 拍的小节中时,这是该小节中唯一的音符;没有其他笔记可以容纳。当您演奏整个音符时,您会在小节的开头(第一拍)唱歌或演奏一次乐器,然后在整个小节中保持该音调。换句话说,一个完整的音符应该持续一个完整的小节。

When you put a whole note in a measure of 4/4 time, that’s the only note that goes in that measure; no other notes will fit. When you play a whole note, you sing or play your instrument once at the very beginning of the measure (on beat one), and then you hold that tone through the entire measure. In other words, one whole note should last a whole measure.

半音符

Half Notes

全音符是最大的音符;让我们缩小一个尺寸,看看下一个最小的音符。还记得我说过每个较短的音符恰好是前一个音符的一半吗?让我们应用一点数学知识,将整个音符除以二,看看我们会得到什么。

The whole note is the largest note; let’s go down one size and look at the next smallest note. Remember that I said each shorter note is exactly half the previous note? Let’s apply a little math and divide a whole note by two to see what we get.

下一个最小的音符称为二分音符。(它是全音符的一半——很简单,嗯?)因为全音符持续一个完整小节(无论如何,4/4),所以半音符持续半个小节或两个节拍——整个音符持续时间的一半。换句话说,您可以在一个小节中放入两个半音符,因为两个半音符等于一个全音符。

The next smallest note is called a half note. (It’s half of a whole note—pretty simple, eh?) Because a whole note lasts a whole measure (in 4/4, anyway), a half note lasts a half measure, or two beats—half the duration of a whole note. Put another way, you can put two half notes in a measure, because two half notes equal one whole note.

半音符看起来就像全音符,旁边有一条线。该线称为茎;它可以指向上方或下方,具体取决于音符的音高。如果符干朝下,则它位于符头的左侧。如果符干朝上,则它位于符头的右侧。

A half note looks like a whole note with a line next to it. The line is called a stem; it can point up or down, depending on the pitch of the note. If the stem points down, it sits to the left of the notehead. If the stem points up, it sits to the right of the notehead.

两个半音符——一个符干朝上;另一个的茎朝下。

Two half notes—one with the stem pointing up; the other with the stem pointing down.

定义

DEFINITION

是音符的大椭圆形部分。符干始终附在符头上。

A notehead is the big, oval part of a note. The stem is always attached to the notehead.

当您弹奏半音符时,请确保音调持续完整的两拍。如果你在第一拍后放松,那么你就只演奏了半个半音符——这就是我们接下来要讨论的内容。

When you play a half note, make sure the tone lasts a full two beats. If you let up after the first beat, you’re playing only half a half note—which is what we’ll discuss next.

提示

TIP

如果符头(音符中不是符干的部分)位于五线谱的第三(中间)线或之上,则符干应从符头指向下方。如果符头位于五线谱的第三行下方,则符干应从符头指向上方。此准则的唯一例外是当您有一连串相连的音符时,即所有符干都相连的音符,例如一连串八分音符或十六分音符。可以将两个或多个这些相连的音符与它们的符干朝同一方向一起运行,即使它们超出了五线谱的第三行,以使音乐更容易阅读。

If the notehead (the part of the note that isn’t the stem) is on or above the third (middle) line of the staff, then the stem should point down from the notehead. If the notehead is below the third line of the staff, then the stem should point up from the notehead. The only exception to this guideline is when you have a run of connected notes—notes where all the stems are connected, like a run of eighth or sixteenth notes. It’s okay to run two or more of these connected notes together with their stems in the same direction, even if they move past that third line of the staff, to make the music easier to read.

四分音符

Quarter Notes

我们继续吧。如果半个音符是半个全音符,那么半个半音符是什么?好吧,算一下,1/2 除以 2,就得到 1/4。这意味着半个二分音符是一个四分音符

Let’s keep going. If a half note is half a whole note, what is half a half note? Well, do your math, and when you divide ½ by 2, you get ¼. This means half a half note is a quarter note.

如果二分音符持续两拍,那么四分音符(即持续时间的一半)持续一拍。换句话说,你可以在一个小节中放入四个四分音符;一拍一拍。当您随着最流行歌曲的节拍敲击脚时,您的脚正在敲击四分音符。一、二、三、四——每一个都是四分音符。

If a half note lasts two beats, then a quarter note—which is half that duration—lasts one beat. Put another way, you can fit four quarter notes in a measure; one to a beat. When you tap your foot to the beat of most popular songs, your foot is tapping quarter notes. One, two, three, four—each of those counts is a quarter note.

四分音符看起来像二分音符,但记号头已填满,如下所示:

A quarter note looks like a half note with the notehead filled in, as shown here:

两个不同的四分音符,指向两个方向。

Two different quarter notes, pointing in both directions.

八分音符

Eighth Notes

就像那些微型超级英雄蚁人和原子侠(取决于你是漫威还是 DC)一样,笔记也变得越来越小。同样,我们按照 2 比 1 的比率进行操作,因此我们将四分音符分成两半。计算一下,1/4 ÷ 2 = ⅛——所以下一个最小的音符是八分之一音符

Just like those miniature superheroes Ant Man and the Atom (depending on whether you’re Marvel or DC), notes just keep getting smaller. Again, we’re operating on a 2-to-1 ratio, so let’s take a quarter note and divide it in half. Doing the math, ¼ ÷ 2 = ⅛—so the next-smallest note is the eighth note.

正如 4/4 拍小节中有四个四分音符 (4 × ¼ = 1) 一样,每个小节包含八个八分音符 (8 × ⅛ = 1)。换句话说,每个四分音符有两个八分音符 (2 × ⅛ = ¼),或者每个节拍有两个八分音符。

Just as there are four quarter notes in a measure of 4/4 time (4 × ¼ = 1), each measure holds eight eighth notes (8 × ⅛ = 1). Put another way, there are two eighth notes for every quarter note (2 × ⅛ = ¼)—or two eighth notes for every beat.

八分音符看起来像带有旗标的四分音符。如果连续有两个或多个八分音符,则可以用正常垂直茎末端的水平梁替换标志。(标志不必连接在一起;有时这样更容易阅读。)

An eighth note looks like a quarter note with a flag on it. If you have two or more eighth notes in a row, the flags can be replaced with horizontal beams at the end of the normal vertical stems. (The flags don’t have to be joined together; sometimes it’s just easier to read that way.)

各种八分音符。

A variety of eighth notes.

定义

DEFINITION

旗帜是悬挂在八分音符、十六分音符和所有小音符的符干上的小窍门(它实际上看起来像一面在桅杆上飘扬的旗帜。)旗帜始终位于符干的末端,因此如果符干朝上,则旗帜位于符头上方;如果符干朝下,则旗形位于符头下方。

A flag is the little doohickey dangling off the stem of eighth notes, sixteenth notes, and all smaller notes. (It actually looks like a flag flying on a mast.) The flag is always at the end of the stem, so if the stem is pointing up, the flag is above the notehead; if the stem is pointing down, the flag is below the notehead.

十六分音符

Sixteenth Notes

好吧,你知道这是怎么回事。半个八分音符(算一下!)是一个十六分音符(⅛ ÷ 2 = 116 )。一个小节有 16 个十六分音符 (16 × 116 = 1),或每一个四分音符节拍有 4 个十六分音符 (4 × 116 = ¼)。

Okay, you know where this is going. Half an eighth note is (do the math!) a sixteenth note (⅛ ÷ 2 = 116). There are 16 sixteenth notes in a measure (16 × 116 = 1), or 4 sixteenth notes per one quarter-note beat (4 × 116 = ¼).

十六分音符看起来像带有两个旗标的四分音符。与八分音符一样,如果两个或多个十六分音符彼此相邻,则标志可能(也可能不)连接在一起。

A sixteenth note looks like a quarter note with two flags on it. As with the eighth note, if 2 or more sixteenth notes are next to each other, the flags may (or may not) be joined together.

各种十六分音符。

A variety of sixteenth notes.

笔记

NOTE

尽管我们将以十六分音符结束本次讨论,但还有很多比这更小的音符。每个连续的音符都是前一个音符值的一半,并由茎上的附加标志指示。例如,三十秒音符是继十六音符之后第二小的音符;它的茎上有三面旗帜。之后是六十四音符,有四旗。实际上,您不会遇到太多小于十六分音符的音符。

Although we’ll end this discussion with sixteenth notes, there are lots of notes even smaller than that. Each successive note is half the value of the previous note and is indicated by an additional flag on the stem. For example, the thirty-second note is the next-smallest note after the sixteenth note; it has three flags on its stem. After that is the sixty-fourth note, with four flags. In actuality, you won’t run into too many notes smaller than the sixteenth note.

计数

Taking Count

写下一系列音符相当容易,但是如何以口头方式向其他音乐家传达音符和价值观呢?你是否会用数学的方式说出诸如“第十四个十六分音符”或“第四拍的两个十六分音符之后的第八个音符”之类的东西,或者是否有更简单的方法来描述你的节奏?

It’s fairly easy to write down a series of notes—but how do you communicate notes and values to other musicians verbally? Do you go all mathematical and say things such as “the fourteenth sixteenth note” or “the eighth note after the two sixteenth notes on beat four”—or is there an easier way to describe your rhythms?

正如您使用字母(A 到 G)描述绝对音高一样,您也可以使用数字描述绝对节奏 - 并且您只需能够数到四即可。

Just as you describe absolute pitches by using letters (A through G), you describe absolute rhythms by using numbers—and you need only to be able to count to four.

一开始相当简单,小节中的每个节拍都算作一、二、三或四。因此,如果您数四个四分音符,则将它们数为一、二、三、四。如果你想谈论一个小节中的第四个四分音符,你可以将其称为“四”,例如“在最后一个小节中,确保你在四上演奏降 B 调。”

It starts fairly simple, in that each beat in a measure is counted as either one, two, three, or four. So if you’re counting off four quarter notes, you count them as one, two, three, four. If you want to talk about the fourth quarter note in a measure, you call it “four,” as in, “In the last measure, make sure you play a B-flat on four.”

如果节拍始终是一、二、三或四,那么节拍之间的八分音符又如何呢?很简单:将它们算作“和”,如“一和、二和、三和、四和”,都非常均匀。你会这样谈论八分音符:“确保在三号和三号之后弹奏升 C 音。”

If the beat is always one, two, three, or four, what about the eighth notes that lay between the beats? It’s simple: count them as “and” as in “one-and, two-and, three-and, four-and,” all very even. You’d talk about an eighth note like this: “Make sure you play a C-sharp on the and after three.”

这很简单——但是十六分音符呢?这有点棘手,但一旦你进入其中,就会显得很自然。用无意义音节“e”和“ah”来代表八分音符之间的十六分音符。因此,如果您计算一组直十六分音符,您会计算“一个 e 和 a、两个 e 和 a、三个 e 和 a、四个 e 和 a、 ” 一切都美好而均匀。还不确定吗?

This is pretty easy—but what about sixteenth notes? This gets a little tricky, but it’ll seem natural once you get into it. Use the nonsense syllables “e” and “ah” to represent the sixteenth notes between eighth notes. So if you’re counting a group of straight sixteenth notes, you’d count “one-e-and-a, two-e-and-a, three-e-and-a, four-e-and-a,” all nice and even. Still not sure about this?

检查下图,该图显示了如何计算各种音符分组的数量。

Examine the following figure, which shows how to count various groupings of notes.

如何计算各种类型的笔记。

How to count various types of notes.

小憩一下

Taking a Rest

如果一个音符代表音高的持续时间,那么当你不演奏或唱歌时你怎么称呼它?在音乐中,当你不演奏时,你就是在休息,所以任何不演奏的音符都称为休止符

If a note represents the duration of a pitch, what do you call it when you’re not playing or singing? In music, when you’re not playing, you’re resting—so any note you don’t play is called a rest.

当您看到四个四分音符时,您会演奏或演唱四个音调 - 每个节拍一个。当你看到四个四分音符休止符时,你就不会演奏四个音;而是演奏四个音。你休息了四个节拍。

When you see four quarter notes, you play or sing four tones—one per beat. When you see four quarter note rests, you don’t play four tones; you rest over four beats.

每种类型的音符(全音符、半音符等)都有相同时长的相应休止符。所以你有一个持续整个小节的全休止符,一个持续半个小节的半休止符,等等。休止符用于表示音符之间的空格,与您弹奏的音符一样重要。

Each type of note—whole note, half note, and so on—has a corresponding rest of the same duration. So you have a whole rest that lasts a whole measure, a half rest that lasts a half measure, and so on. Rests are used to indicate the spaces in between the notes and are just as important as the notes you play.

下表显示了您刚刚学过的所有音符及其相应的休止符。

The following table shows all the notes you’ve just learned and their corresponding rests.

注释和休止符

Notes and Rests

期间

Duration

笔记

Note

休息

Rest

所有的

Whole

一半

Half

四分之一

Quarter

第八

Eighth

第十六

Sixteenth

记下笔记并加以点缀

Taking a Note—and Dotting It

迟早你会遇到一些不同的东西:音符或休止符后面有一个点。当您遇到这些附点音符之一时,该音符的持续时间应该比该音符的正常版本更长——准确地说,长一倍半。

Sooner or later you’ll run into something a little different: a note or a rest with a dot after it. When you run into one of these dotted notes, that note should have a longer duration than the normal version of that note—one and a half times longer, to be precise.

这就是你的数学技能重新发挥作用的地方。我们以附点四分音符为例。常规的四分音符相当于一个节拍。如果乘以 1 × 1½,则得到 1½ 节拍,因此附点四分音符相当于 1½ 节拍。您也可以这样说:一个四分音符等于四个十六分音符,4 × 1½ = 6,而 6 个十六分音符等于 1½ 四分音符。不管你怎么计算,结果都是一样的。

Here’s where your math skills come back into play. Let’s take a dotted quarter note as an example. A regular quarter note is worth a single beat. If you multiply 1 × 1½, you get 1½ beats—so a dotted quarter note is worth 1½ beats. You also could go about it by saying a quarter note equals four sixteenth notes, and 4 × 1½ = 6, and 6 sixteenth notes equal 1½ quarter notes. However you do the math, it comes out the same.

提示

TIP

考虑附点音符的另一种方式是,它的持续时间等于下一个较小音符值的三倍。例如,附点二分音符等于 3 个四分音符,附点四分音符等于 3 个八分音符,附点八分音符等于 3 个十六分音符。

Another way to think about a dotted note is that it has a duration equal to three of the next-smaller note value. For example, a dotted half note equals 3 quarter notes, a dotted quarter note equals 3 eighth notes, and a dotted eighth note equals 3 sixteenth notes.

因此,当您看到附点音符时,请比平常保持该音符的时间长 50%,如下表所示。

So when you see a dotted note, hold that note 50 percent longer than you would do normally, as shown in the following table.

虚线音符值

Dotted Note Values

这个虚线注释...

This Dotted Note …

等于这个

Equals This

您还可以使用附点休止符,其作用与附点音符相同。当您在休止后看到一个点时,该休止的持续时间应该是主休止值的一倍半。

You can also have dotted rests, which work the same as dotted notes. When you see a dot after a rest, that rest should last one and a half times the value of the main rest.

记下两个笔记并将它们绑在一起

Taking Two Notes—and Tying Them Together

使笔记更长的另一种方法是将其与另一个笔记绑在一起。领带是放置在两个音符之间一个小圆形连接器;它本质上告诉您将第二个注释添加到第一个注释中。

Another way to make a note longer is to tie it to another note. A tie is a little rounded connector placed between two notes; it essentially tells you to add the second note to the first note.

领带是两件事中的一件事。

A tie makes one note out of two.

当您看到两个或多个音符连在一起时,您可以将它们当作单个音符来演奏;例如,两个四分音符连在一起等于一个二分音符。

When you see two or more notes tied together, you play them as if they’re a single note; for example, two quarter notes tied together equal one half note.

如果连在一起的音符处于不同的音高,你会怎么做?嗯,这可能看起来像领带,但它并不是真正的领带——它是一种诽谤。连线是一种指示两个(或更多)音符将以平滑连接的方式演奏的方式,而不是作为明显独立的音符。

What do you do if the tied notes are on different pitches? Well, this may look like a tie, but it isn’t really a tie—it’s a slur. A slur is a way of indicating that two (or more) notes are to be played in a smoothly connected fashion, rather than as distinctly separate notes.

这并不是真正的平局;而是平局。这是一种诽谤。

This isn’t really a tie; it’s a slur.

抓住节拍并除以三

Taking the Beat and Dividing by Three

节奏记谱法还有一个小奇怪之处——这个非常重要。到目前为止我们所做的一切都将音符和节拍一分为二。那么,如果除以二以外的东西会发生什么?

There’s another little oddity in rhythmic notation—and this one is very important. Everything we’ve done up to now has divided notes and beats by two. What happens, then, if you divide by something other than two?

除二之外最常见的除法是除以三;这称为三元组。当您在一组三个音符(或三个休止符,或三个相等的音符和休止符的任意组合)上看到数字“3”时,您就知道这三个音符必须适合通常只能容纳两个音符的空间。

The most common division other than two is dividing by three; this is called a triplet. When you see the number three over a group of three notes (or three rests—or any combination of three equal notes and rests), you know that those three notes have to fit into a space that would normally hold just two notes.

三连音的三个音符适合两个常规音符的空间。

The three notes of a triplet fit in the space of two regular notes.

三连音比直音符更具滚动感,被视为“trip-ah-let”。您可以使用任何音符值的三连音,但四分音符三连音(其中三个间隔在两个节拍上)、八分音符三连音(三个在一个四分音符节拍上)和十六分音符三连音(三个在一个四分音符节拍上)。一个八分音符的空格)是最常见的。

Triplets have more of a rolling feel than straight notes and are counted as “trip-ah-let.” You can have triplets of any note value, although quarter-note triplets (where three of them are spaced over two beats), eighth-note triplets (three on a single quarter-note beat), and sixteenth-note triplets (three in the space of a single eighth note) are the most common.

笔记

NOTE

三连音是最常见的不均匀节奏划分,但不是唯一的一种。您可以按照自己喜欢的方式划分节拍,这可以导致五组或七组或任何素数组。(如果你将一个节拍除以一个非质数,那么你实际上是除以两组或更多组质数。例如,如果你将一个节拍分成六份,那么你实际上是分成两组,每组三个或两个三胞胎。)

Triplets are the most common uneven rhythmic division, but not the only one. You can divide a beat any way you like, which can lead to groups of five or seven or any prime number. (If you divide a beat by a nonprime number, you’re actually dividing by two or more groups of a prime number. For example, if you divide a beat into six, you’re really dividing into two groups of three—or two triplets.)

练习

Exercises

练习5-1

Exercise 5-1

说出下列音符和休止符的名称。

Name the following notes and rests.

练习5-2

Exercise 5-2

在以下小节中的每个注释下方写下计数(“one-e-and-ah”)。

Write the count (“one-e-and-ah”) below each of the notes in the following measures.

练习5-3

Exercise 5-3

用八分音符填写这些小节的平衡。

Fill in the balance of these measures with eighth notes.

练习5-4

Exercise 5-4

写出下列音符的相应休止符。

Write the corresponding rests for the following notes.

练习5-5

Exercise 5-5

用八分音符三连音填写这些小节的平衡。

Fill in the balance of these measures with eighth-note triplets.

练习5-6

Exercise 5-6

将每组两个音符(但不是其余音符!)绑在一起。

Tie each group of two notes (but not the rests!) together.

练习5-7

Exercise 5-7

输入四个全音符,然后是四个二分音符,然后是四个四分音符,然后是四个八分音符,然后是四个十六分音符。

Enter four whole notes, followed by four half notes, followed by four quarter notes, followed by four eighth notes, followed by four sixteenth notes.

练习5-8

Exercise 5-8

在这些音符上画出符干和符尾,使其成为八分音符;确保将茎指向正确的方向。

Draw stems and flags on these notes to make them eighth notes; make sure to point the stems in the correct direction.

您至少需要知道的

The Least You Need to Know

  • 音符值根据其持续时间命名。全音符持续一个完整小节(4/4 拍),半音符持续一个半小节,依此类推。
  • Note values are named according to their duration. Whole notes last a whole measure (in 4/4 time), half notes last a half measure, and so on.
  • 每个较小的音符的持续时间是前一个音符的一半。例如,四分音符的长度是二分音符的一半。
  • Each smaller note lasts half as long as the previous note. A quarter note, for example, is half as long as a half note.
  • 每个音符值都有相同持续时间的相应休止符,这表示不要演奏或唱歌。
  • Each note value has a corresponding rest of the same duration—which indicates not to play or sing.
  • 音符或休止符后的点可将该音符的值扩展 50%。
  • A dot after a note or rest extends the value of that note by 50 percent.
  • 当您将三个音符放入通常只能容纳两个音符的空间时,这些音符称为三连音。
  • When you fit three notes into a space that normally holds only two, those notes are called triplets.

第6

CHAPTER

6

拍号

Time Signatures

在这一章当中

In This Chapter

  • 了解拍号如何确定节拍
  • Understanding how time signatures determine meter
  • 学习常见拍号和奇怪拍号
  • Learning both usual and odd time signatures
  • 更改拍号
  • Changing time signatures
  • 细分奇数拍号
  • Subdividing odd time signatures

在上一章中,您学习了小节,即保存一段音乐节拍的容器。小节的开始点和结束点用垂直小节线标记,多个小节组合起来创建一首完整的歌曲。

In the previous chapter, you learned about measures, those containers that hold the beats of a piece of music. The start and end points of a measure are marked by vertical bar lines, and multiple measures combine to create a complete song.

为了简化事情,在第五章中,我们将讨论限制为每节有四个节拍,每个节拍等于一个四分音符。这涵盖了很多不同的歌曲,尤其是流行音乐。无论您听什么类型的音乐(摇滚乐、灵魂乐、爵士乐、乡村音乐、嘻哈音乐,甚至雷鬼音乐),您听到的大多数歌曲都可能遵循这种四拍形式。

To simplify things, in Chapter 5 we limited our discussion to measures with four beats apiece, with each of those beats equaling a quarter note. That covers a lot of different songs, especially in popular music. Whatever type of music you listen to—rock-and-roll, soul, jazz, country, hip hop, or even reggae—most of the songs you hear are likely to adhere to this four-beat form.

然而,并非所有音乐每小节都有四个节拍,也不是每个节拍都等于四分音符。要了解每个小节的所有不同数量和类型的节拍,您只需要应用一点数学知识 - 以分数的形式。

However, not all music has four beats per measure, and not every beat is equal to a quarter note. To understand all the different numbers and types of beats per measure, you need only apply a little math—in the form of fractions.

测量节拍

Measuring the Beats

书面音乐使用一种称为拍号的东西来表示一个小节中有多少节拍以及基本节拍使用什么样的音符。拍号看起来有点像分数,一个数字位于另一个数字之上。顶部的数字表示一个小节中有多少节拍;底部的数字表示基本节拍的音符值。

Written music uses something called a time signature to signify how many beats are in a measure and what kind of note is used for the basic beat. A time signature looks kind of like a fraction, with one number sitting on top of another number. The top number indicates how many beats are in a measure; the bottom number indicates the note value of the basic beat.

拍号显示了特定音乐作品中节拍的组织方式。这种组织称为节拍,拍号有时也称为节拍签名

Time signatures show how beats are organized in a particular piece of music. This organization is called meter, and time signatures are sometimes called meter signatures.

笔记

NOTE

古典音乐家倾向于将节拍的组织称为“米”,而爵士乐和流行音乐家则倾向于将其称为“时间”,如“4/4 米”或“4/4 拍”。

Classical musicians tend to refer to the organization of beats as “meter,” while jazz and pop musicians tend to refer to it as “time,” as in “4/4 meter” or “4/4 time.”

让我们采用上一章中使用的四个四分音符为小节的形式。因为一个小节中有四个节拍,所以拍号中的顶部数字是四。因为基本节拍是四分音符,所以底部的数字是四(如 1/4 中的 4)。因此,我们一直使用的标准形式称为“四四”拍(因为 4 位于 4 之上),如下所示:

Let’s take the four-quarter-notes-to-a-measure form we used in the previous chapter. Because we have four beats in a measure, the top number in the time signature is a four. Because the basic beat is a quarter note, the bottom number is a four (as in the 4 in ¼). So the standard form we’ve been using is called “four four” time (because of the 4 on top of the 4), and looks like this:

4/4 米的拍号。

The time signature for 4/4 meter.

其他拍号遵循相同的形式。例如,如果我们的小节有三个节拍而不是四个节拍,并且仍然使用四分音符作为节拍,则我们有一个 3/4 拍号。如果每小节有三个节拍,但基本节拍是八分音符而不是四分音符,则拍号为“三八”或 3/8。

Other time signatures follow this same form. For example, if our measures have three beats instead of four, and still use a quarter note for the beat, we have a 3/4 time signature. If you have three beats per measure but the basic beat is an eighth note instead of a quarter note, that time signature is “three eight,” or 3/8.

继续阅读以了解有关您在音乐世界中可能遇到的不同类型的拍号的更多信息。

Read on to learn more about the different types of time signatures you’re likely to encounter in the world of music.

四分音符时间

Quarter-Note Time

最常见的拍号类型使用四分音符作为基本节拍。然而,您并不限于每小节只有四个节拍(四分音符);四分音符拍号可以少至每小节一个节拍,也可以多至……好吧,只要您喜欢!

The most common types of time signatures use a quarter note for the base beat. However, you’re not limited to just four beats (quarter notes) per measure; quarter-note time signatures can have as few as one beat per measure, or as many as … well, as many as you like!

尽管 4/4 是最常见的四分音符拍号,但您几乎肯定会遇到它的近亲 3/4。在 3/4 拍子中,每个小节有三个四分音符;这些措施被视为“一、二、三;一二三。” 如果您听过华尔兹,您就听过 3/4 拍。

Although 4/4 is the most common quarter-note time signature, you’ll almost definitely run into its close cousin, 3/4. In 3/4 time, you have three quarter notes per measure; the measures are counted “one, two, three; one, two, three.” If you’ve ever heard a waltz, you’ve heard 3/4 time.

笔记

NOTE

在大多数摇滚和流行音乐中,小节的第二和第四节拍通常由鼓手重音,如下所示:一、二、三、四;一二三四。(当你跟着一首歌拍手时,你可能是在拍二拍和四拍。) 这种沉重的“节奏”赋予了摇滚乐滚动的节奏;它是如此常见,以至于当它不存在时它就会引人注目。

In most rock and pop music, the second and fourth beats of a measure are accented, typically by the drummer, like this: one, TWO, three, FOUR; one, TWO, three, FOUR. (When you clap your hands to a song, you’re probably clapping on two and four.) This heavy “backbeat” is what gives rock and roll its rolling rhythm; it is so common that it’s noticeable when it is absent.

另一种常见的四分音符拍号是 2/4 拍号。这种拍号在进行曲和其他快速音乐中很常见,并且非常容易演奏。毕竟,两小节 2/4 加起来就是一小节 4/4!

Another common quarter-note time signature is 2/4 time. This time signature is common in marches and other fast music, and is very easy to play. After all, two measures of 2/4 add up to one measure of 4/4!

不太常见的是每小节超过四拍的四分音符拍号。例如,5/4 拍感觉有点尴尬,特别是如果您习惯于感受 4/4 流行歌曲中的“backbeat”。但是爵士音乐家演奏很多 5/4 音调——如果您想听听以 5 音调演奏的好例子,只需聆听戴夫·布鲁贝克四重奏 (Dave Brubeck Quartet) 著名的录音“Take Five”即可。

Less common are quarter-note time signatures with more than four beats per measure. For example, 5/4 time feels a little awkward, especially if you’re used to feeling the “backbeat” in a 4/4 pop song. But jazz musicians play a lot of 5/4—just listen to the Dave Brubeck Quartet’s famous recording of “Take Five” if you want to hear a good example of playing in five.

下表显示了一些更常见的四分音符拍号。

The following table shows some of the more common quarter-note time signatures.

四分音符拍号

Quarter-Note Time Signatures

拍号

Time Signature

每小节节拍

Beats per Measure

顺便说一句,4/4 拍子有时也称为普通拍子,并用大“C”表示拍号,如下所示:

By the way, 4/4 time is sometimes called common time, and indicated by a large “C” for the time signature, like this:

4/4 时间是常用时间,用大“C”表示。

4/4 time is common time—indicated by a big “C.”

八分音符时间

Eighth-Note Time

并非所有音乐都使用四分音符作为节拍。许多音乐——尤其是古典音乐——都是基于八分音符节拍。

Not all music uses a quarter note for the beat. A lot of music—especially classical music—is based on an eighth-note beat.

当您有八分音符拍号(例如 3/8 或 6/8)时,每次您敲击脚时,您敲击的是八分音符,而不是四分音符。因此,对于 3/8 小节,您需要敲击三个八分音符;对于 6/8 小节,您需要敲击六个八分音符。

When you have an eighth-note time signature, such as 3/8 or 6/8, every time you tap your foot you’re tapping an eighth note, not a quarter note. So for a measure of 3/8, you’d tap three eighth notes; for a measure of 6/8, you’d tap six eighth notes.

当第八个音符是节拍时,半个节拍(节拍后的“和”,如果你数的话)将是十六个音符。另外,如果您在八分音符拍号中看到四分音符,则该音符占用两个节拍。

When the eighth note is the beat, half a beat (the “and” after the beat, if you’re counting) will be a sixteenth note. Also, if you see a quarter note in an eighth-note time signature, that note takes up two beats.

基本上,这都是关于数学的。当您以八分音符拍号演奏时,所有正常音符值所占用的空间是四分音符拍号所占用的空间的一半。很简单的划分。

It’s all about math, basically. When you play in an eighth-note time signature, all your normal note values take up half as much space as they do in a quarter-note time signature. It’s simple division.

最常见的八分音符拍号是可被三整除的拍号:3/8、6/8、9/8 等。当您演奏其中一个拍号并且演奏得非常快时,您可能会每三个节拍敲击一次脚,如下所示:一、二、三、四、五、六;一二三四五六。(事实上​​,许多指挥家会演奏 6/8 拍,每小节只有两个强拍——一拍和四拍。)这些拍号听起来很像 3/4,即华尔兹拍号。下表详细介绍了最常见的八分音符拍号。

The most common eighth-note time signatures are those divisible by three: 3/8, 6/8, 9/8, and so on. When you’re playing one of these time signatures and you’re playing really fast, you might end up tapping your foot just once every three beats, like this: ONE, two, three, FOUR, five, six; ONE, two, three, FOUR, five, six. (In fact, many conductors will conduct 6/8 time with just two downbeats per measure—the one and the four.) These time signatures sound a lot like 3/4, the waltz time signature. The following table details the most common eighth-note time signatures.

警告

WARNING

不要假设八分音符拍号自动是四分音符拍号的两倍。尽管这可能是正确的(并且当拍号在歌曲中间发生变化时几乎总是如此),但节拍的速度(音乐家称之为节奏)与拍号无关。因此,3/8 拍的歌曲实际上比 3/4 拍的歌曲播放得慢。(在第 7 章中了解有关节奏的更多信息。)

Don’t assume that an eighth-note time signature is automatically twice as fast as a quarter-note time signature. Although this might be true (and almost always is true when time signatures change in the middle of a song), the speed of the beat (what musicians call tempo) is independent of the time signature. Thus, a song in 3/8 time actually could be played slower than a song in 3/4. (Learn more about tempo in Chapter 7.)

八分音符拍号

Eighth-Note Time Signatures

拍号

Time Signature

每小节节拍

Beats per Measure

中场休息

Half Time

如果您从基本的四分音符拍号移动到另一个方向,您就会进入基于半音符节拍的拍号。在半音符拍号中,每个半音符有一个节拍;四分音符为半拍,八分音符为四分之一拍。另一方面,整个音符只有两个节拍。(这并不是那么令人困惑;只是需要处理更多的数学问题。)

If you move the other direction from the basic quarter-note time signature, you get into time signatures based on a half-note beat. In a half-note time signature, each half note gets one beat; quarter notes get half a beat, and eighth notes get a quarter of a beat. Whole notes, on the other hand, get just two beats. (It’s not really that confusing; it’s just more math to deal with.)

半音符节拍(2/2、3/2 等)通常用于古典音乐中较慢、更宽广的段落。

Half-note beats—2/2, 3/2, and the like—are typically used in classical music for slower, more sweeping passages.

下表列出了最常见的半音符节拍。

The following table presents the most common half-note beats.

半音符拍号

Half-Note Time Signatures

拍号

Time Signature

每小节节拍

Beats per Measure

正如 4/4 有时称为公共时间一样,2/2 有时称为剪切时间。您可以通过正常拍号或带有一条线的大 C 来表示 2/2,如下所示:

Just as 4/4 is sometimes called common time, 2/2 is sometimes called cut time. You can indicate 2/2 by either the normal time signature, or by a large C with a line through it, like this:

2/2 时间是剪切时间,因此您将“C”切成两半。

2/2 time is cut-time—thus you cut a “C” in half.

改变时间

Changing the Time

您总是在一首音乐的开头注明拍号。但是,您不必在整首歌曲中保持相同的拍号;您可以在一段音乐中随心所欲地改变时间,即使只是一两小节!

You always indicate the time signature at the very beginning of a piece of music. However, you don’t have to keep the same time signature through the entire song; you can change time anywhere you want in a piece of music, even for just a measure or two!

如果拍子在歌曲中间发生变化,您可以在变化点插入新的拍号。这个新的拍号在歌曲的其余部分中一直有效,或者直到引入另一个新的拍号为止。

If the meter changes in the middle of a song, you insert a new time signature at the point of change. This new time signature remains in effect through the rest of the song, or until another new time signature is introduced.

提示

TIP

在大多数乐谱中,拍号仅显示在音乐的第一行(或当时间发生变化时),这与调号不同,调号通常显示在每行的开头。

In most music notation, the time signature is shown only on the first line of music (or when there’s a time change)—unlike the key signature, which is typically shown at the start of each line.

以下是一段音乐中间时间变化的样子:

Here’s what a time change looks like in the middle of a piece of music:

在歌曲中间更改拍号。

Changing time signatures in the middle of a song.

对节拍进行分组

Grouping the Beats

如果您看到一首 9/8 的音乐,并且对数到那么高感到绝望(九比四高得多),那么有一种方法可以解决这个问题。您可以像许多音乐家一样:将每个小节分成更小的组。

If you see a piece of music in 9/8 and despair about counting that high (nine’s a lot higher than four), there’s a way around the problem. You can do as many musicians do: chop up each measure into smaller groupings.

当您以奇怪的拍号演奏时(尤其是每小节超过四拍的拍号),通常会将小节内的节拍细分为更容易掌握的模式。使用较小的分组不仅可以使每个度量更容易计数,而且还可以使每个度量更易于计数。它还使音乐流动得更好。当您以这种方式细分小节时,您会在基本节拍后面创建子节奏,这使得音乐更容易聆听。

When you’re playing in odd time signatures—especially those with more than four beats per measure—it’s common to subdivide the beats within a measure into an easier-to-grasp pattern. Using smaller groupings not only makes each measure easier to count; it also makes the music flow better. When you subdivide measures in this fashion, you create sub-rhythms behind the basic beat, which makes the music easier to listen to.

例如,如果您以 6/8 拍演奏,您可以均匀地计算所有节拍(一、二、三、四、五、六),或者您可以细分节拍。最常见的 6/8 细分将小节分为两个相等的部分,每个部分包含三个节拍,如下所示:

For example, if you’re playing in 6/8 time, you could count all the beats evenly (one, two, three, four, five, six)—or you could subdivide the beat. The most common subdivision of 6/8 divides the measure into two equal parts, each containing three beats, like this:

将 6/8 小节细分为两组,每组三个。

Subdividing a 6/8 measure into two groups of three.

所以你数小节“一、二、三;一、二、三”或“一、二、三;两个,两个,三个。” 更容易,不是吗?

So you count the measure “one, two, three; one, two, three” or “one, two, three; two, two, three.” Easier, isn’t it?

当然,你也可以将6/8分成三组二人,或一组四人一组二人,或一组一人一组五人,但两组三人是最常见的方式演奏这个特定的拍号。

Of course, you could also divide 6/8 into three groups of two, or one group of four and one group of two, or one group of one and one group of five, but the two groups of three is the most common way to play this particular time signature.

再举个例子,我们看一下 5/4 时间。在 5/4 中,度量通常细分为一组三个和一组两个,如下所示:

For another example, let’s look at 5/4 time. In 5/4, measures are typically sub-divided into one group of three and one group of two, like this:

将5/4时间细分为一组三人一组和一组两人一组。

Subdividing 5/4 time into one group of three and one group of two.

你将每个小节数为“一、二、三;一二。”

You count each measure “one, two, three; one, two.”

当然,你也可以颠倒分组,第一组是两拍,第二组是三拍——“一、二;一二三。” 这取决于音乐的感觉和流动。

Of course, you could also reverse the groupings, and end up with two beats in the first group and three beats in the second—”one, two; one, two, three.” It depends on the feel and the flow of the music.

一个小节中的节拍越多,你能想到的分组就越多。为了进行演示,以下示例显示了 7/4 时间的三种可能的分组:4+3、3+4 和 2+3+2。

The more beats you have in a measure, the more possible groupings you can come up with. To demonstrate, the following example shows three possible groupings of 7/4 time: 4+3, 3+4, and 2+3+2.

7/4 时间分组的三种不同方式。

Three different ways to group 7/4 time.

只是为了好玩,从 11 一直数到 11,看看您能想出多少个分组来达到 11/4!

Just for fun, count all the way up to 11, and see how many groupings you can come up with for a measure of 11/4!

练习

Exercises

练习 6-1

Exercise 6-1

在五线谱上写下以下拍号。

Write the following time signatures on the staff.

练习6-2

Exercise 6-2

为每个拍号输入每小节适当的四分音符数。

Enter the appropriate number of quarter notes per measure for each time signature.

练习6-3

Exercise 6-3

为每个拍号输入适当的八分音符数。

Enter the appropriate number of eighth notes for each time signature.

练习6-4

Exercise 6-4

为每个四分音符拍号输入等效的八分音符拍号。

Enter the equivalent eighth-note time signature for each quarter-note time signature.

练习6-5

Exercise 6-5

为每个二分音符拍号输入等效的四分音符拍号。

Enter the equivalent quarter-note time signature for each half-note time signature.

练习6-6

Exercise 6-6

输入小节线将以下乐曲分为 3/4 拍的四个小节。

Enter bar lines to divide the following piece of music into four measures of 3/4 time.

练习6-7

Exercise 6-7

输入小节线将以下乐曲分为 7/8 拍的四个小节。

Enter bar lines to divide the following piece of music into four measures of 7/8 time.

练习6-8

Exercise 6-8

按以下三种不同方式对节拍进行分组。

Group the beats in the following measures three different ways each.

您至少需要知道的

The Least You Need to Know

  • 您必须在一首音乐的开头或任何您更改基本拍或时间的地方放置拍号。
  • You have to place a time signature at the beginning of a piece of music—or anywhere you change the basic meter or time.
  • 拍号中顶部的数字表示每小节的节拍数。
  • The top number in a time signature indicates the number of beats per measure.
  • 拍号中底部的数字表示基本节拍所使用的音符。
  • The bottom number in a time signature indicates what note is used for the basic beat.
  • 奇怪的拍号有时会被分成更小的分组,以使每个小节更容易计数。
  • Odd time signatures are sometimes broken up into smaller groupings, to make each measure easier to count.

第7

CHAPTER

7

节奏、动态和导航

Tempo, Dynamics, and Navigation

在这一章当中

In This Chapter

  • 确定播放速度
  • Determining how fast to play
  • 改变节奏
  • Changing tempo
  • 确定播放的音量
  • Determining how loud to play
  • 改变力度和强调音符
  • Changing dynamics and accenting notes
  • 重复歌曲的某些部分
  • Repeating parts of a song

您可能没有注意到,本书的前六章教您如何阅读和创作音乐。没错,所有这些关于五线谱、谱号、音符和休止符的部分组成了我们所说的标准音乐符号,这是所有音乐家的共同语言。

You might not have noticed, but the first six chapters of this book taught you how to read and write music. That’s right—all those bits about staves, clefs, notes, and rests comprise what we call the standard music notation, which is the common language of all musicians.

可以这样想:五线谱、谱号和调号决定音符的音高位置。拍号和音符值决定音符在时间或节奏方面的位置。通过在这个二维空间中放置一个音符,您可以告诉音乐家他或她演奏该音符以及随后的所有音符所需知道的一切。

Think of it this way: the staff, clef, and key signature determine where a note is in terms of pitch. The time signature and note value determine where a note is in terms of time, or rhythm. By placing a note in this two-dimensional space, you tell a musician everything he or she needs to know to play that note—and all the notes that follow.

关于乐谱,您唯一还没有了解的是如何表示一段音乐的速度(节奏)和响度(动态)。我们将在本章中讨论这两个主题,并提供一些简单的导航辅助工具,以帮助您在歌曲中从一个点到达另一个点。

The only things you haven’t yet learned about music notation are how to signify the speed (tempo) and loudness (dynamics) of a piece of music. We look at both topics in this chapter, along with some simple navigational aids to help you get from one point to another within a song.

把脉

Taking the Pulse

第 6 章中,您学习了如何计算一个小节中有多少节拍。然而,问题仍然是,这些节拍应该演奏多快。

In Chapter 6 you learned how to figure out how many beats there are in a measure. The question remains, however, how fast those beats should be played.

一首音乐的速度——节拍的速度——被称为节奏。更快的节奏意味着更快的节拍;节奏越慢,歌曲就越慢。

The speed of a piece of music—how fast the beat goes by—is called the tempo. A faster tempo means a faster beat; a slower tempo makes for a slower song.

您可以通过以下两种方式之一来指示节奏:指示每分钟的精确节拍数或使用传统的意大利语术语。接下来我们将讨论这两种方法。

You can indicate tempo in one of two ways: by indicating the precise number of beats per minute or by using traditional Italian terms. We’ll discuss both methods next.

笔记

NOTE

正如您很快就会看到的,许多符号标记(尤其是古典音乐)都是意大利语。这说明了意大利文化在西方音乐发展中的重要性,但这也意味着了解一点意大利语也不是一件坏事——我指的不是一个名叫马里奥的矮个子!

As you’ll soon see, many notation markings (especially for classical music) are in Italian. This speaks to the importance of Italian culture in the evolution of Western music, but it also means it wouldn’t be a bad thing to know a little Italian—and I don’t mean a short guy named Mario!

每分钟节拍数

Beats per Minute

指示节奏的最准确方法是指定每分钟的特定节拍数或bpm。这为您的歌曲提供了非常精确的速度,尤其是当您在计算机或录音室中使用节拍器节拍音轨时。您设置节拍器或单击特定的 bpm 数字,它就会以适当的速度来回滴答作响。当您按照节拍器或节拍音轨演奏时,您就以完全正确的速度演奏。

The most accurate way to indicate tempo is by specifying a certain number of beats per minute, or bpm. This gives you a very precise speed for your song, especially when you use a metronome or a click track on a computer or in a recording studio. You set your metronome or click to a specific bpm number, and it tick-tocks back and forth at the proper speed. When you play along to the metronome or click track, you’re playing at exactly the right tempo.

设置节奏 — 每分钟 120 个四分音符节拍。

Setting the tempo—120 quarter-note beats per minute.

定义

DEFINITION

节拍器是一种装置(由与贝多芬同时代的梅尔泽尔发明;在古典音乐中,梅尔泽尔节拍器的缩写 MM,用于表示每分钟的节拍),可以以指定的速度精确地敲击一个又一个节拍。节拍器可以是钟摆式的东西,也可以是发出电子节拍的计算机化设备。当您专业演奏时(尤其是在录音室),您可能会遇到节拍音轨一种电子节拍器。节拍音轨通常在合成乐器上演奏,例如电子木版或牛铃。(要听听节拍音轨的声音,请听在线提供的节奏和旋律练习;我使用节拍声来“计数”每个练习。)

A metronome is a device (invented by a contemporary of Beethoven named Maelzel; in classical music, the abbreviation MM, for Maelzel’s Metronome, is used to represent beats per minute) that precisely ticks off beat after beat at a specified tempo. Metronomes can be either pendulum-type affairs or computerized devices that emit an electronic beat. When you’re playing professionally (especially in recording studios), you might run into a click track, a type of electronic metronome. The click track is typically played on a synthesized instrument, like an electronic woodblock or cowbell. (To hear what a click track sounds like, listen to the rhythm and melody exercises provided online; I use a click to “count off” each of the exercises.)

意大利语节奏术语

Italian Tempo Terms

第二种表示节奏的方法通常出现在管弦乐中,是通过使用传统的意大利音乐术语。这些术语对应于一般节奏范围,如下表所示,按从最慢到最快的节奏排列。

The second way to indicate tempo, typically found in orchestral music, is through the use of traditional Italian musical terms. These terms correspond to general tempo ranges, as indicated in the following table, which is arranged from the very slowest to the very fastest tempo.

意大利语节奏术语

Italian Tempo Terms

速度

Tempo

方法 …

Means …

慢节奏 (40–75 bpm)

Slow Tempos (40–75 bpm)

grave

非常慢; 庄严

Very slow; solemn

拉戈

largo

缓慢而庄重

Slow and dignified

慢板

larghetto

比largo快一点

A little faster than largo

慢板

lento

慢的

Slow

慢板

adagio

中等缓慢

Moderately slow

柔板

adagietto

比慢板快一点

A little faster than adagio

中等节奏 (70–115 bpm)

Moderate Tempos (70–115 bpm)

行板

andante

“行走”的节奏

A “walking” tempo

安丹蒂诺

andantino

比行板快一点

A little faster than andante

温和的

moderato

节奏适中

Moderate pace

快板

allegretto

不如快板那么快

Not quite as fast as allegro

快节奏 (110–220 bpm)

Fast Tempos (110–220 bpm)

快板

allegro

快速、开朗

Fast, cheerful

活力

vivace

活泼

Lively

急板

presto

非常快

Very fast

急速

prestissimo

非常非常快

Very, very fast

提示

TIP

有时您会看到这些节奏术语附有“molto”一词,意思是“非常”。因此,如果您看到molto vivace,您就知道音乐应该演奏得“非常活泼”。

Sometimes you’ll see these tempo terms accompanied by the word “molto,” which means “very.” So if you see molto vivace, you know that the music should be played “very lively.”

这些速度标记非常近似,甚至顺序也并不总是 100% 被观察到。意大利语术语试图传达的重要内容是音乐的“精神”。例如,意大利语中的“allegro”一词实际上意味着“快乐”。当使用这些标记时,精确的节奏始终由乐团指挥自行决定。

These tempo markings are very approximate, and even the order is not always 100 percent observed. The important thing the Italian terms try to get across is the “spirit” of the music. For example, the word “allegro” in Italian really means “cheerful.” When these markings are used, the precise tempo is always left to the discretion of the orchestra’s conductor.

因此,当您看到一首标有“Allegro”的音乐时,例如巴赫的第六号勃兰登堡协奏曲,您知道它应该演奏得相当快。如果你看到一首标有“Largo”的乐曲,比如德沃夏克《新世界交响曲》的第二乐章,你就知道节奏应该相当慢。这种方法不是很精确,但它会让你大致了解。

So when you see a piece of music marked “Allegro,” such as Bach’s Brandenburg Concerto No. 6, you know that it should be played fairly fast. If you see a piece marked “Largo,” like the second movement of Dvořák’s New World Symphony, you know that the tempo should be fairly slow. This method isn’t terribly precise, but it will get you in the ballpark.

使用传统的意大利语术语指定节奏。(快点玩这个吧!)

Specifying tempo using traditional Italian terms. (Play this one fast!)

加速和减速

Speeding Up—and Slowing Down

有些音乐片段在整首歌曲中保持相同的节奏(想想这里最流行的音乐)。其他音乐作品有时会加速或减速,通常是为了产生戏剧性的效果。

Some pieces of music retain the same tempo throughout the entire song (think most popular music here). Other pieces of music speed up and slow down at times, often for dramatic effect.

如果速度变化是立即的,也就是说,您直接从一种速度转到另一种速度,没有逐渐过渡,您可以通过插入您选择的新速度标记来指示变化。例如,如果您一直以 120 bpm 的速度演奏,想要切换到更快的速度(假设为 160 bpm),您所要做的就是插入新的 160 bpm 速度标记。如果您使用意大利速度标记,只需在您想要更改速度的位置插入新标记即可。

If a tempo change is immediate—that is, you go directly from one tempo to another, with no gradual transition—you indicate the change by inserting a new tempo marking of your choice. For example, if you’ve been playing at 120 bpm and want to switch to a faster tempo—160 bpm, let’s say—all you have to do is insert a new 160 bpm tempo mark. If you’re using Italian tempo markings, just insert the new marking where you want the tempo to change.

如果您想逐渐加快或减慢节奏,那么是时候学习一套新的意大利语标记了。您可以使用多种方法,但最常见的是ritardando(逐渐减慢节奏)和accelerando(逐渐加快节奏)。下表列出了您可能会遇到的速度变化标记。

If you’d rather gradually speed up or slow down the tempo, it’s time to learn a new set of Italian markings. There are several you can use, but the most common are ritardando (to gradually slow down the tempo) and accelerando (to gradually speed up the tempo). The following table presents the tempo-changing markings you’re likely to encounter.

指示速度变化

Indicating Tempo Changes

指标

Indicator

方法 …

Means …

ritardando(字面意思,延迟。)

ritardando (rit., retard.)

逐渐放慢

Gradually slow down

拉伦坦多(拉伦坦多)

rallentando (rall.)

逐渐放慢

Gradually slow down

礼努托 (riten.)

ritenuto (riten.)

控制住节奏

Hold back the tempo

加速(加速)

accelerando (accel.)

逐渐加快

Gradually speed up

双动

doppio movimento

速度快两倍

Twice as fast

一个节奏

a tempo

返回之前的节奏

Return to the previous tempo

节奏第一

tempo primo

回到乐曲开头的节奏

Return to the tempo at the beginning of the piece

使用 ritardando 标记降低速度。

Decreasing the tempo using a ritardando marking.

请注意!

Hold That Note!

有时你不只是想放慢速度,你实际上想停下来。当您想忽略节拍并保持特定音符时,可以使用所谓的“fermata” 它看起来像一个小鸟眼,放置在音符(或休止符)之上,表示音乐中的暂停。这意味着您无限期地保持该音符(或休息),或者直到指挥打断您为止;然后您以正常速度从延音后的下一个音符开始。

Sometimes you don’t just want to slow down, you actually want to stop. When you want to ignore the beat and hold a specific note, you use what’s called a fermata, which looks like a little bird’s eye placed on top of a note (or a rest) and indicates a pause in the music. This means you hold that note (or rest) indefinitely or until the conductor cuts you off; then you start up with the next note after the fermata, at normal tempo.

当您看到延签时,请按住纸条。

When you see a fermata, hold the note.

变得大声——又变得柔和

Getting Loud—and Getting Soft

您现在知道如何指示歌曲的播放速度有多快或多慢。如何指示弹奏时的音量大小?

You now know how to indicate how fast or how slow a song should be played. How do you indicate how loud or how soft you should play it?

动态标记

Dynamic Markings

歌曲的动态表明您应该演奏的音量大小。在乐谱的世界中,有一个设定的音量级别范围,从非常柔和到非常响亮,您可以用它来指示一段音乐的动态级别。这些动态标记如下表所示。

A song’s dynamics indicate how loud or soft you should play. In the world of music notation, there is a set range of volume levels, from very soft to very loud, that you use to indicate the dynamic level of a piece of music. These dynamic markings are shown in the following table.

动态标记

Dynamic Markings

标记

Marking

动态的

Dynamic

方法 …

Means …

点对点

ppp

极弱的

pianississimo

非常非常柔软

Very, very soft

PP

pp

极弱的

pianissimo

很软

Very soft

p

p

钢琴

piano

柔软的

Soft

议员

mp

中音钢琴

mezzo piano

中软

Medium soft

MF

mf

中强音

mezzo forte

中等音量

Medium loud

F

f

长处

forte

大声

Loud

FF

ff

最强音

fortissimo

很响

Very loud

FF

fff

强音

fortississimo

非常非常响亮

Very, very loud

动态标记与节奏标记一样,通常出现在歌曲的开头。如果您没有看到动态标记,则意味着该歌曲应以中等音量播放。

The dynamic marking, just like the tempo marking, typically appears at the beginning of the song. If you don’t see a dynamic marking, that means the song should be played at a medium volume.

使用动态标记来指示歌曲的播放音量。

Use dynamic markings to indicate how loud a song should be played.

动态变化

Changing Dynamics

动态可以而且确实在一首音乐的整个过程中发生变化。

Dynamics can—and do—change throughout the course of a piece of music.

要突然更改特定点的音量级别,请插入新的动态标记。指示音量的剧烈变化是可以的;如果您愿意,您可以从一小节中的 pp 转到下一小节中的 ff。

To abruptly change the volume level at a specific point, insert a new dynamic marking. It’s okay to indicate dramatic changes in volume; you can go from pp in one measure to ff in the next, if you want.

要逐渐改变歌曲的音量,您必须使用我们所说的渐强渐弱标记。渐强标记(看起来像一个巨大的发夹,在左侧闭合并向右变宽)表示您逐渐将音量从当前级别增加到渐强末尾指示的新级别。渐强标记(看起来像发夹,左侧打开,右侧闭合)表示您逐渐将音量从当前级别降低到渐强末尾指示的新级别。

To gradually change the volume of a song, you have to use what we call crescendo and decrescendo marks. The crescendo mark (which looks like a giant hairpin, closed at the left and widening to the right) indicates that you gradually increase the volume from your current level to the new level indicated at the end of the crescendo. The decrescendo mark (which looks like a hairpin, open at the left and closed at the right) indicates that you gradually decrease the volume from your current level to the new level indicated at the end of the decrescendo.

渐强和渐弱表示音量逐渐增大或减小。

Crescendos and decrescendos indicate gradual increases or decreases in volume.

渐强和渐弱可以相对较短(仅一两个节拍)或延伸多个小节。显然,渐强或渐弱的时间越长,音量的变化就越平缓。

Crescendos and decrescendos can be relatively short (just a beat or two) or extend over multiple measures. Obviously, the longer the crescendo or decrescendo, the more gradual is the change in volume.

提示

TIP

您可以记住标记是否意味着变得更大声或更柔和的方式是,发夹的“嘴”越宽,音乐就越大。当嘴巴位于左侧然后变窄时,这意味着您开始大声,然后变得柔和。当嘴位于右侧时,这意味着您开始时声音较小,然后声音逐渐增大。

The way you can remember whether the marking means to get louder or softer is that the wider the “mouth” of the hairpin, the louder the music. When the mouth is at the left and then narrows, that means you start loud and get softer. When the mouth is at the right, that means you start soft and get louder.

玩得更努力

Play It Harder

如果您希望某个特定音符比周围的其他音符播放得更响,您需要在该音符上放置一个重音标记(>)。当一个音符被重音时,您只需比正常音符弹得更大声即可。

If you want a specific note to be played louder than the other notes around it, you’ll want to place an accent mark (>) over that note. When a note is accented, you simply play it louder than a normal note.

为了指示某个音符演奏得非常大声(或者如果您正在编写打击乐部分,则敲击非常用力),您可以在该音符上放置一个抑音符号( ^)。这意味着您要格外用力地打球或击球——一拳打得很扎实!

To indicate that a note is to be played very loud (or hit very hard, if you’re writing a percussion part), you place a marcato (^) over the note. This means you play or hit that extra hard—with a good solid punch!

两个重音符号和一个马卡托。

Two accent marks and a marcato.

笔记

NOTE

从技术上讲,marcato 不是重音。正式的定义是指演奏“明显”的音符,或者与周围的音符不同的音符。然而,在实践中,这通常会转化为响亮、长的口音。

Technically, the marcato is not an accent. The formal definition means to play the note “well marked,” or distinct from the surrounding notes. In practice, however, this typically translates into a loud, long accent.

您可以使用其他三个标记来表示突然的重音。与所有意大利符号一样,这些标记位于相关注释下方,如下表所示。

You can use three other markings to indicate a sudden accent. These markings, like all Italian notation, are placed under the note in question, as detailed in the following table.

意大利口音标记

Italian Accent Markings

标记

Marking

方法 …

Means …

弗兹

fz

突然的口音(强音)

Sudden accent (forzando)

顺丰

sf

强迫(强行)

Forced (sforzando)

sfz

sfz

更加被迫(sforzando)

Even more forced (sforzando)

找到你的路

Finding Your Way

阅读一首长曲子有点像阅读路线图。您会在乐谱中看到各种指示,这些指示提供方向、重复某个部分或跳转到歌曲中的另一个部分。

Reading a long piece of music is a little like reading a roadmap. You’ll see various indications in a score that provide direction, to repeat a section or to jump to another section within the song.

笔记

NOTE

一首长音乐(尤其是在管弦乐环境中)通常称为乐谱。更准确地说,乐谱是指挥使用的乐曲,其中包含所有乐器和声音的所有部分。从技术上讲,每种乐器的音乐并不是乐谱,尽管有时人们这样称呼它。

A long piece of music (especially in the orchestral environment) is often called a score. More precisely, the score is the piece of music the conductor uses, which contains all the parts for all the instruments and voices. The music for each individual instrument is not technically a score, although sometimes people refer to it as such.

当您演奏一首长曲时,歌曲的各个部分可能会用数字或字母表示。例如,您可能会在第一节开头看到字母 A,在第二节开头看到字母 B,在副歌开头看到字母 C。这样,其他音乐家就可以通过说“从字母 B 开始”来告诉您从歌曲中的特定点开始。

When you’re playing a long piece of music, various parts of the song might be indicated by numbers or by letters. For example, you might see the letter A at the beginning of the first verse, and the letter B at the beginning of the second verse, and the letter C at the start of the chorus. This way other musicians can tell you to start at a specific point in the song by saying, “Start at letter B.”

或者,可以对歌曲的小节进行编号。如果是这种情况,你可以说“从第 16 小节开始”;每个人都会知道你的意思。

Alternatively, the measures of a song might be numbered. If this is the case, you can say “Start at measure 16”; everyone will know what you mean.

无论如何,您需要某种方法来确定您在一首音乐中的位置;否则你总是必须从头开始——即使你需要练习的只是最后!

In any case, you need some way to determine just where you are in a piece of music; otherwise you’ll always have to start at the beginning—even if all you need to practice is the very end!

在第 11 章中了解有关歌曲各个部分的更多信息。

Learn more about the various sections of a song in Chapter 11.

重复部分

Repeating Sections

在创作或编曲一首音乐时,您可以使用各种速记方法。特别有用的是指示重复部分的各种方式,这可以省去您两次(或更多次)写出完全相同的音乐的麻烦。

You can use various shorthand methods when writing or arranging a piece of music. Especially useful are various ways to indicate repeating sections, which saves you the trouble of writing out the exact same music two (or more) times.

当您有一段音乐需要重复时,您可以在该部分的边界上加上一对重复标记。一个重复标记表示要重复的部分的开始;另一个表示该部分的结尾。除非另有说明,否则您只需重复一个部分一次(即播放两次),然后继续进入下一个部分。

When you have a section of music that should be repeated, you border that section by a pair of repeat marks. One repeat mark indicates the start of the section to be repeated; the other one indicates the end of that section. Unless noted otherwise, you repeat a section only once (that is, you play it twice), and then you move on to the next section.

使用重复标记来指示要演奏两次的小节范围。

Use repeat marks to indicate a range of measures to play twice.

有时您需要重复一个部分,但第二次播放的结局略有不同。当您在乐谱中看到这一点(称为第一结局第二结局)时,您会第一次播放第一个结局,然后当您重复该部分时,您会跳过第一个结局并播放第二个结局。

Sometimes you’ll need to repeat a section but play a slightly different ending the second time through. When you see this in the score—called a first ending and a second ending—you play the first ending the first time through, and then when you repeat the section you skip the first ending and play the second ending.

使用第一和第二结尾以两种不同的方式结束重复部分。

Use first and second endings to end a repeated section two different ways.

您还可以通过返回到指定有符号(称为segno,意大利语“符号”)的部分来重复歌曲的某个部分。例如,当您看到符号“DS al Fine”时,您会跳回到segno并播放到歌曲的结尾。

You also can repeat a section of a song by returning to a section designated with a sign (called a segno, which is Italian for “sign”). For example, when you see the notation “D.S. al Fine,” you jump back to the segno and play through to the end of the song.

另一种导航技术使用音乐的一个单独部分,称为尾声。当您在音乐中插入尾声符号时,这表明您应该跳到标记为尾声的部分。一种常见的导航技术被标记为“DC al Coda”或“DC al Fine”,您可以跳到歌曲的开头,然后继续到尾声或结尾(精细)。下表详细介绍了这些和其他常见的意大利导航标记。

Another navigation technique uses a separate section of music called the coda. When you insert a coda sign in your music, that indicates that you should jump to the section marked coda. A common navigation technique is notated “D.C. al Coda” or “D.C. al Fine,” where you jump to the beginning of the song and then follow through to the coda or the end (fine). The following table details these and other common Italian navigation markings.

定义

DEFINITION

DS ”是dal segno的缩写,意思是“来自标志”。“ DC ”是dal capo的缩写,意思是“从头开始”或“从头开始”。(Capo在意大利语中是“头”的意思——字面意思是图表的顶部。)

D.S.” is short for dal segno, which means “from the sign.” “D.C.” is short for dal capo, which means “from the head” or “from the start.” (Capo is Italian for “head”—literally, the top of the chart.)

意大利语导航标记

Italian Navigation Markings

标记

Marking

方法 …

Means …

DC铝精

D.C. al Fine

回到开头并玩到最后。

Go back to the beginning and play through to the end.

DC 尾声

D.C. al Coda

返回开头并演奏尾声;然后跳到尾声部分。

Go back to the beginning and play to the coda sign; then skip to the coda section.

DS阿尔法恩

D.S. al Fine

返回到标记处并玩到底。

Go back to the segno sign and play through to the end.

DS 尾声

D.S. al Coda

返回到segno 符号并播放到coda 符号;然后跳到尾声部分。

Go back to the segno sign and play to the coda sign; then skip to the coda section.

使用segno(左)和coda(右)符号来导航一段音乐。

Use the segno (left) and coda (right) signs to navigate a piece of music.

重复措施

Repeating Measures

如果您只有一个小节要重复,则可以使用小节重复符号。只需在要重复的小节后面的小节线之间插入此符号即可;音乐家会知道重复之前的小节。

If you have only a single measure to repeat, you can use a measure repeat sign. Just insert this sign between the bar lines after the measure you want to repeat; musicians will know to repeat the previous measure.

使用小节重复符号重复前一小节的内容。

Use the measure repeat sign to repeat the contents of the previous measure.

您可以在多个小节中使用小节重复符号。例如,如果您有三个小节的重复符号,则可以将原始小节演奏四次(原始时间加上三次重复)。

You can use the measure repeat sign in multiple measures. For example, if you have three measures worth of repeat signs, you play the original measure four times (the original time plus three repeats).

重复笔记

Repeating Notes

如果您真的很懒,您会喜欢这样的事实:您不必总是在一首音乐中写下每个单独的音符。如果您重复相同节奏值和音高的音符,您可以使用音符重复符号来免除连续写下所有八分之一或十六分之一音符的麻烦。

If you’re really lazy, you’ll like the fact that you don’t always have to write each individual note in a piece of music. If you’re repeating notes of the same rhythmic value and pitch, you can use note repeat notation to spare yourself the trouble of writing down all those eighth or sixteenth notes in a row.

提示

TIP

您还可以在附点音符上使用音符重复。当您在附点音符上放置一个斜线时,您将演奏三个较短的音符。当您在附点音符上添加双斜杠时,您将演奏六个较短的音符。

You can also use note repeats on dotted notes. When you put a single slash on a dotted note, you play three of the shorter notes. When you put a double slash on a dotted note, you play six of the shorter notes.

音符重复(有时称为重复音符)通过在主音符上画斜线来表示。一个斜线标记是一种简写,表示您在原始音符中添加了一个标志或横梁。因此,例如,全音符、二分音符或四分音符上的斜线表示您演奏八分音符。八分音符上的斜杠表示您弹奏十六分音符。十六分音符上的斜线意味着您演奏三十秒音符。

Note repeats (sometimes called reiterated notes) are indicated by drawing slash marks through the main note. One slash mark is shorthand that indicates you add one flag or beam to the original note. So, for example, a slash on a whole or half or quarter note indicates you play eighth notes. A slash on an eighth note indicates you play sixteenth notes. And a slash on a sixteenth note means you play thirty-second notes.

此简写还表明您可以根据需要弹奏尽可能多的较短音符以填充原始音符的度量空间。例如,如果您在四分音符上画一条斜线,则会演奏两个八分音符。(两个八分音符等于一个四分音符。)通过四分音符的两条斜线表示您演奏四个十六分音符。

This shorthand also indicates that you play as many of the shorter notes as necessary to fill the metric space of the original note. For example, if you draw a single slash through a quarter note, you play two eighth notes. (Two eighth notes equal one quarter note.) Two slashes through a quarter note means you play four sixteenth notes.

下表列出了一些常见的音符重复值。

The following table indicates some common note repeat values.

注意重复标记

Note Repeat Markings

标记

Marking

等于 …

Equals …

重复休息

Repeating Rests

您需要了解最后一点重复符号,它涉及休息,而不是演奏。在许多管弦乐中,每种乐器都有很多时间不演奏。尽管作曲家可以通过编写大量充满完整休止符的单独小节来指示所有这些不活动,但更常见(并且更容易)的是指示乐器将休止的小节总数。

There’s one last bit of repeat notation you need to know, and it concerns resting, not playing. In much orchestral music, each individual instrument spends a lot of time not playing. Although the composer could indicate all this inactivity by writing lots of individual measures full of whole rests, it is more common (and a lot easier) to indicate the total number of measures the instrument will rest.

这是通过在单小节中使用多小节休止符来完成的,并在休止符上方写上一个数字。该数字表示有多少个休息措施。例如,上面写有数字 6 的多小节休止符表示该乐器应该休止六小节。

This is done by using a multiple-measure rest sign in a single measure, with a number written above the rest. The number indicates how many measures of rest there are. For example, a multiple-measure rest with the number 6 written above indicates that that instrument is supposed to rest for six measures.

使用多小节休息符号来指示多小节休息 — 在本例中为六小节。

Use a multiple-measure rest sign to indicate multiple measures of rest—in this example, six measures.

练习

Exercises

练习7-1

Exercise 7-1

演奏或演唱以下音乐,严格注意节奏标记。

Play or sing the following piece of music, paying strict attention to the tempo markings.

练习7-2

Exercise 7-2

演奏或演唱以下音乐,严格注意动态标记。

Play or sing the following piece of music, paying strict attention to the dynamic markings.

练习7-3

Exercise 7-3

播放或唱下面的音乐,严格注意重复标志和导航标记。

Play or sing the following piece of music, paying strict attention to the repeat signs and navigation markings.

您至少需要知道的

The Least You Need to Know

  • 一首音乐的节奏可以通过传统的意大利标记或特定的“每分钟节拍”指令来指示。
  • The tempo of a piece of music can be indicated by traditional Italian markings or by a specific “beats per minute” instruction.
  • 您可以使用意大利语标记来指示速度的变化,例如 ritardando(放慢速度)和 accelerando(加速)。
  • You indicate changes in tempo by using Italian markings such as ritardando (slow down) and accelerando (speed up).
  • 一首音乐的音量通常通过使用传统的意大利动态标记来指示。
  • The volume level of a piece of music is typically indicated by the use of traditional Italian dynamic markings.
  • 您可以使用渐强(变得更响亮)和渐弱(变得更柔和)标记来指示动态变化。
  • You indicate changes in dynamics by using crescendo (get louder) and decrescendo (get softer) markings.
  • 当您希望单个音符比平常更响亮时,请使用重音符号。
  • When you want a single note played louder than normal, use an accent mark.
  • 您可以使用重复符号和各种意大利标记来导航整首音乐。(例如,DC al Coda 的意思是回到开头,播放到尾声符号;然后跳到尾声部分。)
  • You navigate an entire piece of music using repeat signs and various Italian markings. (For example, D.C. al Coda means to go back to the beginning, play to the coda sign; then jump to the coda section.)

第三部分

PART

3

曲调

Tunes

在这一部分中,您将了解如何将音调和节奏组合在一起以创建旋律,然后学习如何在曲调中添加和弦。您还可以阅读有关和弦进行和歌曲形式的内容 - 创建自己的歌曲和音乐片段所需了解的一切。

In this part, you discover how to put tones and rhythms together to create a melody and then learn how to add chords to your tunes. You also read about chord progressions and song forms—everything you need to know to create your own songs and pieces of music.

第8

CHAPTER

8

旋律

Melodies

在这一章当中

In This Chapter

  • 从音调和节奏创建旋律
  • Creating a melody from tones and rhythms
  • 分析现有旋律
  • Analyzing existing melodies
  • 学习旋律形式的组成部分
  • Learning the building blocks of melodic form
  • 创作你的第一首旋律
  • Composing your first melody

第 5 课,第 36 课

Lesson 5, Track 36

在本书的第一部分(第 1 章到第 4 章)中,您学习了有关音符和音高的所有内容。在第二部分(第 5 章到第 7 章)中,您学习了有关音符值和节奏的所有内容。就其本身而言,音调和节奏并没有多大意义。但当你将它们结合起来时,它们就会创造出美妙的东西——旋律。

In the first part of this book (Chapters 1 through 4), you learned all about notes and pitches. In the second part (Chapters 5 through 7), you learned all about note values and rhythms. By themselves, pitches and rhythms don’t amount to much. But when you combine them, they create something wonderful—a melody.

旋律被定义为音调和节奏的逻辑进展——根据节拍而定的曲调。但请密切注意“逻辑”这个词。旋律不是音符的随机组合;而是音符的随机组合。这些注释必须相互关联并相互遵循。换句话说,旋律必须有意义,否则它只是一堆噪音。

Melody is defined as a logical progression of tones and rhythms—a tune set to a beat. But pay close attention to that word “logical.” A melody isn’t a random conglomeration of notes; the notes have to relate to and follow from each other. In other words, a melody has to make sense, or else it’s just a bunch of noise.

话虽如此,教科书上对旋律的定义无论多么精确,都不足以满足我的口味。对我来说,旋律是一首音乐中最令人难忘的部分。在唱片结束或乐队停止演奏后,你唱的歌曲、你哼的音符、你脑海中残留的音乐线条。最好的旋律充满情感冲击力;它们让我们高兴地跳起来,或者让我们悲伤地哭泣。如果处理得当,旋律可以不用言语讲述故事,或者强化歌曲歌词的含义。

All that said, this textbook definition of melody, however precise, doesn’t go far enough for my tastes. To me, a melody is the most memorable part of a piece of music. It’s the song you sing, the notes you hum, the musical line that stays in your mind long after the record is over or the band has stopped playing. The best melodies pack an emotional punch; they make us jump with joy or weep with sadness. When done right, melodies can tell a story without words, or reinforce the meaning of a song’s lyrics.

结合音调和节奏

Combining Tones and Rhythms

如果您回想一下第一章,您会记得我们如何讨论描述歌曲“玛丽有一只小羔羊”中的音调的各种方法。我们最终选择了使用字母 A 到 G 的传统音调标签。歌曲中的每个音调都分配了一个与其精确音高相对应的字母;任何读过这些字母的人都知道该唱或弹什么音。

If you think back to Chapter 1, you’ll remember how we discussed various ways to describe the tones in the song “Mary Had a Little Lamb.” We finally settled on the traditional labeling of tones using the letters A through G. Each tone in the song is assigned a letter corresponding to its precise pitch; anyone reading the letters knows which tone to sing or play.

当然,分配音调只是故事的一半。当你唱“玛丽有一只小羔羊”时,你给每个音调一个特定的节奏值;每个音调在时间上占据一个特定的位置。歌曲的节奏是通过使用不同的音符值来描述的,半音符和四分音符,我们称之为乐谱。

Assigning tones, of course, is only half the story. When you sing “Mary Had a Little Lamb,” you give each tone a specific rhythmic value; each tone takes up a specific place in time. The rhythm of the song is described by using different note values, the half notes and quarter notes that we call music notation.

通过将音高值与节奏值相结合,我们现在可以记下“Mary Had a Little Lamb”的整个旋律。五线谱上的音符告诉我们要唱什么音高;音符值告诉我们每个音高要唱多长时间。

By combining the pitch values with the rhythmic values, we can now notate the entire melody of “Mary Had a Little Lamb.” The notes on the staff tell us what pitches to sing; the note values tell us how long to sing each pitch.

结果如下:

The result looks like this:

“玛丽有一只小羊羔”的完整旋律。

The complete melody for “Mary Had a Little Lamb.”

所有旋律均使用类似的符号进行描述。您预先设置调号和拍号,然后从那里填写旋律的音符。当然,您必须在小节内排列音符,每个小节保持适当的节拍数。当你写完音符后,你就写下了旋律。

All melodies are described using similar notation. You set the key signature and the time signature up front, and then fill in the notes of the melody from there. Naturally, you have to arrange the notes within measures, with each measure holding the appropriate number of beats. When you’re done writing down the notes, you’ve written your melody.

常用旋律技巧

Common Melodic Techniques

每首歌——每首音乐——都有旋律。一些较长的作品(例如许多管弦乐作品)有多种旋律。有些旋律由多个部分组成,不同的部分在歌曲的不同部分重复。无论音乐是如何构成的,旋律都是歌曲的核心——你应该能够自己唱歌、哼唱或吹口哨,而不需要其他乐器。

Every song—every piece of music—has a melody. Some longer pieces (such as much orchestral music pieces) have multiple melodies. Some melodies consist of multiple parts, with different parts repeated in different parts of the song. No matter how the music is constructed, the melody is the heart of the song—the part you should be able to sing or hum or whistle all by itself, with no other instruments needed.

为了了解旋律的构成方式,让我们看一下著名音乐作品中的一些旋律。您会发现,尽管它们都有独特的声音和感觉,但这些旋律也有很多共同点。

To get a feel for how melodies are constructed, let’s take a look at some melodies from well-known pieces of music. You’ll see that, although they all have their distinct sound and feel, these melodies also have a lot of factors in common.

德沃夏克新世界交响曲

Dvořák’s New World Symphony

我们将从安东尼·德沃夏克的 E小调第九交响曲 (“来自新世界”)中的一首曲子开始,该交响曲通常被称为“新世界交响曲”。这是一首流行的管弦乐作品,由几个不同的部分组成;我们将看到的旋律只是整个作品中使用的众多旋律之一,它是这样的:

We’ll start with a tune from Antonín Dvořák’s Symphony #9 in E minor (“From the New World”), more commonly known as the New World Symphony. This is a popular piece of orchestral music, and consists of several different sections; the melody we’ll look at is just one of many used throughout the work, and it goes like this:

德沃夏克《新世界交响曲》的主要旋律之一。

One of the main melodies in Dvořák’s New World Symphony.

让我们先来感受一下旋律的机制。正如您所看到的,该旋律的拍号是 4/4,因此每个小节中有四个四分音符节拍。调号是 D ,有五个降号。当你听它的时候,旋律有一种愉快的声音,这意味着它是大调——准确地说是D ♭大调。我们正在看的这首旋律有四小节长。

Let’s first get a feel for the mechanics of the melody. As you can see, the time signature for this melody is 4/4, so there are four quarter-note beats in each measure. The key signature is D, with five flats. When you listen to it, the melody has a happy sound, which means it’s in a major key—D Major, to be precise. The piece of the melody we’re looking at is four measures long.

如果你仔细看(或听)这个旋律,你会发现它分成两个两小节的乐句。前两个小节以音符 (E ) 结尾,感觉不像结尾音符(它是音阶中的第二个音符);这会产生一种你希望听到解决的紧张气氛。后两个小节通过有效地重复前两个小节来解决紧张,但以更令人满意的音调结束——D ,音阶的主音。

If you look at (or listen to) this melody carefully, you’ll see that it breaks into two, two-measure phrases. The first two measures end on a note (E) that doesn’t feel like an ending note (it’s the second note in the scale); this sets up a kind of tension that you want to hear resolved. The second two measures resolve the tension by effectively repeating the first two measures, but ending on a more satisfying tone—D, the tonic of the scale.

这是一种常见的技巧,在旋律的第一部分中设置某种张力,然后在第二部分中解决。这有助于使旋律变得有趣;如果你仔细想想,这也是一个非常合乎逻辑、对称、几乎是数学的结构。(如果你像数学公式一样看待它,旋律的前半部分“等于”后半部分。)

This is a common technique, setting up some sort of tension in the first part of the melody that is then resolved in the second part. This helps to make a melody interesting; if you think about it, it’s also a very logical, symmetrical, almost mathematical construction. (If you look at it like a mathematical formula, the first half of the melody “equals” the second half.)

该旋律中使用的另一种技巧是重复特定的节奏。看看整个过程中使用的节奏模式:附点八分音符、十六分音符和四分音符。这种“dum de duh”模式在第一小节中演奏了两次,在第三小节中又演奏了两次,为整首曲子建立了一种节奏特征。这种有节奏的重复有助于让听众熟悉;你听到一次节奏,然后再听到一次,感觉很熟悉;几乎舒服。事实上,听众希望听到一些重复;如果旋律的每个小节都与前面的所有小节完全不同,那么该旋律将很难记住。

Another technique used in this melody is the repetition of specific rhythms. Look at the rhythmic pattern used throughout: dotted eighth note, sixteenth note, and quarter note. This “dum de duh” pattern is played twice in the first measure, and twice again in the third measure, establishing a kind of rhythmic signature for the entire piece. This rhythmic repetition helps to establish a familiarity for the listener; you hear the rhythm once, then you hear it again, and it feels familiar; almost comfortable. In fact, a listener expects to hear some repetition; if every measure of a melody is completely different from all the preceding measures, the melody will be difficult to remember.

巴赫G 大调小步舞曲

Bach’s Minuet in G

我们的下一个例子是约翰·塞巴斯蒂安·巴赫 (Johann Sebastian Bach) 的G 大调小步舞曲,尽管您可能熟悉它,因为它是 20 世纪 60 年代中期玩具乐队 (Toys) 演奏的流行歌曲“情人协奏曲”的旋律。

Our next example is Johann Sebastian Bach’s Minuet in G—although you might be familiar with it as the melody of the pop song “A Lover’s Concerto,” performed by the Toys back in the mid-1960s.

巴赫G 大调小步舞曲的旋律也适用于流行歌曲《情人协奏曲》。

The melody for Bach’s Minuet in G—also appropriated for the pop song “A Lover’s Concerto.”

这首旋律与德沃夏克的旋律有很多不同之处。首先,它是 3/4 拍子,而不是 4/4 拍子。其次,它是 G 调,并且基于 G 大调音阶。

This melody differs from Dvořák’s melody in a number of ways. First, it’s in 3/4 time, not 4/4. Second, it’s in the key of G, and is based on the G Major scale.

除了这些差异之外,您还可以听到许多类似的技术正在使用。注意第1小节和第2小节以及第3小节和第4小节之间的节奏重复,以及第5小节到第7小节中第一小节的持续重复。还要注意第4小节中产生的非常轻微的张力(旋律前半部分的结尾——听起来好像还有更多的事情发生),然后在旋律的后半部分得到解决。

Beyond those differences, you can hear a lot of similar techniques in use. Note the rhythmic repetition between measures 1 and 2 and measures 3 and 4, and the continued repetition of the first measure in measures 5 through 7. Also note the very slight tension created in measure 4 (the end of the first half of the melody—it sounds like there’s more coming), which is then resolved in the second half of the melody.

这个特定的旋律还有一些有趣的地方。旋律的前半部分有持续的向上运动;下半场使用向下的动作让你几乎回到开始的地方。尽管并非所有音符都向上(或向下),但旋律的总体流程朝这些方向移动,从而推动旋律前进。

There’s something else interesting about this particular melody. The first half of the melody has an insistent upward motion; the second half uses a downward motion to deposit you pretty much where you started. Even though not all the notes go up (or down), the general flow of the melody moves in those directions, and thus propels the melody forward.

你需要在旋律中有某种动感,否则你会让听者入睡。这个动作可以在曲调中,也可以在节奏中,但它必须存在,以帮助旋律从 A 点到达 B 点。

You need to have some sort of motion in a melody, or you’ll put the listener to sleep. That motion can be in the tune, or in the rhythm, but it needs to be there, to help the melody get from point A to point B.

“迈克尔,把船划到岸上”

“Michael, Row the Boat Ashore”

接下来是传统民歌“迈克尔,划船上岸”。这首曲子的歌词虽然简单,但实际上可以帮助我们了解旋律形式。当你读到歌词时,你可以清楚地看到这首歌由两个几乎相同的部分组成——无论如何,节奏上是一样的。迈克尔第一次划船上岸时(哈利路亚!),旋律有轻微的向上运动,并以音阶第五个音符(A)上的轻微紧张结束。迈克尔第二次划船时,旋律稍微向下摆动,并以主音结束。

Next up is the traditional folk song “Michael, Row the Boat Ashore.” The words to this tune, simple as they are, can actually help us see the melodic form. When you read the words, you can clearly see that the song consists of two near-identical halves—rhythmically, anyway. The first time Michael rows his boat ashore (hallelujah!), the melody has a slight upward motion, and ends with a slight bit of tension on the fifth note of the scale (A). The second time Michael goes boating, the melody sways downward slightly, and resolves itself by ending on the tonic of the key.

笔记

NOTE

第一小节之前的两个四分音符称为拾音音符;这个小半措施称为拾取措施。当旋律在第一小节的第一拍之前实际开始时,您可以使用拾音音符和小节。

The two quarter notes before measure one are called pickup notes; that little half measure is called a pickup measure. You use pickup notes and measures when the melody actually starts up before the first beat of the first measure.

对称、重复、张力和释放——这些技巧被反复使用,创造出令人难忘的旋律。

Symmetry, repetition, tension, and release—these techniques are used over and over to create memorable melodies.

民歌“迈克尔,划船上岸”的旋律。

The melody for the folk song “Michael, Row the Boat Ashore.”

帕赫贝尔的D 大调卡农

Pachelbel’s Canon in D

我们的最终旋律与我们迄今为止检查过的旋律有点不同。它的不同之处在于,从节奏上来说,它非常简单——只有半音符。

Our final melody is a bit different from the ones we’ve examined so far. It’s different because rhythmically, it’s very simple—nothing but half notes.

您以前可能听过这首旋律——它是约翰·帕赫贝尔的D 大调卡农(有时简称为“帕赫贝尔的卡农”——就像他只写了这首!),并且它已在许多不同的电影和电视节目中使用。尽管节奏简单,但这是一首引人注目的旋律。

You’ve probably heard this melody before—it’s Johann Pachelbel’s Canon in D (sometimes just called “Pachelbel’s Canon”—like he only wrote this one!), and it’s been used in a number of different movies and television shows. It’s a compelling melody, despite its rhythmic simplicity.

帕赫贝尔 D 大调卡农的非常简单的旋律。

The very simple melody for Pachelbel’s Canon in D.

这首旋律的不同之处还在于它没有使用大量的对称或重复。(当然,除了重复的半音符!)实际上,推动旋律前进的是音符之间的逐步间隔;每个音高都向前倾斜,一个接一个,几乎形成一个巨大的旋转音调圈。然后最后一个音符 C#,是音阶的主音(D 大调);你跳回 F#(音阶的第三个音阶)并重新开始。

This melody also is different in that it doesn’t use a lot of symmetry or repetition. (Except for the repeated half notes, of course!) It’s actually the stepwise intervals between the notes that propel this melody forward; each pitch leaning forward to the next, one after another, almost in a giant spinning circle of tones. And then the last note, C#, is the leading tone of the scale (D Major); you jump back to F# (the third of the scale) and start all over again.

检查这个特定旋律的要点是,你不需要花哨的节奏来创造令人难忘的旋律。纯音,缓慢而简单地演奏,可以非常抒情——如果你选择了正确的音调!

The point of examining this particular melody is that you don’t need fancy rhythms to create a memorable melody. Pure tones, played slowly and simply, can be quite lyrical—if you pick the right ones!

旋律形式的基石

The Building Blocks of Melodic Form

现在我们已经研究了一些简单的旋律,让我们看看旋律是如何构造的。如果您想创作自己的旋律,您需要知道这一点。

Now that we’ve examined some simple melodies, let’s look at how melodies are constructed. You’ll need to know this if you want to compose your own melodies.

主题

The Motif

为了让旋律真正令人难忘,需要有一段旋律能够真正吸引听众的注意力。在流行音乐中,这被称为“挂钩”,因为它是歌曲中吸引听众的部分。在更传统的音乐中,歌曲的这一部分被称为主题动机。无论你怎么称呼它,它都应该足够令人难忘,以至于你不仅想在较长的旋律乐句中重复它,而且在整个作品中重复它。(听众想一遍又一遍地听到它!)

For a melody to be truly memorable, there needs to be a piece of the melody that really reaches out and grabs the listener’s attention. In pop music, this is called the hook, because it’s the part of the song that hooks the listener. In more traditional music, this piece of the song is known as the motif or motive. Whatever you call it, it should be memorable enough that you want to repeat it not only within a longer melodic phrase, but throughout the entire composition. (And the listener wants to hear it again and again!)

一个主题通常相当短——几个音符(想想电影《黄金三镖客》中塞吉奥·莱昂内主题曲中的五个口哨音符),或者最多一两个小节。您可以通过以一种或另一种方式改变它来在整个乐曲中重复使用主题 - 以不同的节奏重复相同的音调,按指定的音程向上或向下播放音调,以相同的节奏演奏不同的音调,等等。

A motif is typically fairly short—a few notes (think of the five whistling notes in Sergio Leone’s theme from the movie The Good, the Bad and the Ugly) or, at longest, one or two measures. You can reuse a motif throughout a composition by varying it in one way or another—repeating the same tones with a different rhythm, playing the tones up or down a specified interval, playing different tones to the same rhythm, and so on.

一个简单的四音符主题。

A simple four-note motif.

旋律短句

The Short Melodic Phrase

主题通常是更完整的旋律短语的一部分。这个乐句通常有两到四小节长,包含完整的音乐思想或陈述。由于缺乏更好的术语,我们将其称为短旋律短语短旋律

The motif is often part of a more complete melodic phrase. This phrase is typically two or four measures long and contains a complete musical thought or statement. For want of a better term, we’ll call this the short melodic phrase or the short melody.

一个简短的旋律短语通常通过到达某种易于识别的端点来定义自己,无论是在和弦结构还是节奏复杂性方面。本质上,旋律乐句的终点就是音乐的呼吸处。这些简短的旋律通常在更长的乐句中发挥作用,以建立和解决紧张局势。

A short melodic phrase typically defines itself by coming to some sort of easily identifiable endpoint, either in terms of chord structure or rhythmic complexity. In essence, the endpoint of a melodic phrase is where the music breathes. And these short melodies often function within an even longer musical phrase to set up and resolve tension.

两小节短旋律乐句中使用的主题。

The motif used within a two-measure short melodic phrase.

笔记

NOTE

在较长的作品中的所有短旋律中(应该有不止一个),其中一首应该足以令人难忘,成为作品的主题。旋律主题定义了乐曲,并且通常在整首作品中重复多次。

Of all the short melodies within a longer composition (and there should be more than one), one of them should be memorable enough to become the theme of the composition. The melodic theme defines the composition, and is typically repeated several times throughout a piece.

长旋律乐句

The Long Melodic Phrase

短旋律短语组合成较长的旋律短语。您通常将两个或四个短旋律短语组合成一个长旋律短语。长旋律乐句的结尾是主要的呼吸(或休息)点;在所有这些简短的旋律之后,你的作品需要休息一下。

Short melodic phrases combine into longer melodic phrases. You typically put two or four short melodic phrases together into a single long melodic phrase. The end of a long melodic phrase is a major breathing (or resting) point; after all those short melodies, your composition needs to take a significant break.

四个短旋律短语组合成一个较长的旋律短语。

Four short melodic phrases combined into a single longer melodic phrase.

创作你的第一首旋律

Composing Your First Melody

现在您已经了解了一些可用来创作旋律的技术,让我们将这些技术付诸实践。

Now that you know some of the techniques you can use to create a melody, let’s put those techniques to work.

正如您通过帕赫贝尔的卡农学到的那样,旋律不必包含复杂的节奏。正确的音高上的正确音符是开始任何新曲子所需的一切。

As you learned with Pachelbel’s Canon, a melody doesn’t have to include complex rhythms. The right notes on the right pitches are all you need to start any new tune.

作曲的主要规则之一是将旋律建立在特定的音阶上。而且,正如您将在第 9 章中了解到的那样,一个音阶中有三个音符,当它们一起演奏时,就形成了我们所说的大三和弦。这三个音符代表了我们第一首旋律的良好起点。

One of the primary rules of composing is to base your melody on a specific scale. And, as you’ll learn in Chapter 9, there are three notes in a scale which, when played together, create what we call a major triad. These three notes represent a good place to start for our first melody.

为了简单起见,让我们从 C 大调开始,使用 C 大调音阶。我们想要使用的三个音符是主音、第三个音符和第五个音符——C、E 和 G。因此,让我们以两个半音符和一个全音符开始我们的旋律,从 C 开始,整体进展到 G笔记。

For simplicity’s sake, let’s start in the key of C, using the C Major scale. The three notes we want to use are the tonic, the third, and the fifth—C, E, and G. So let’s start our melody with two half notes and a whole note, starting with C and progressing up to G on the whole note.

这给了我们旋律的前两个小节:

This gives us the first two measures of the melody:

我们第一首旋律的前两个小节。

The first two measures of our first melody.

让我们详细说明一下这些注释。如果您想让旋律更加流畅,您可以通过在每个音高之间的步骤中添加音符来填补这三个音符之间的空白。我们将通过将二分音符变成四分音符,并在 C 和 E、E 和 G 之间添加传递音来做到这一点。(这意味着我们将从 C 到 D 到 E,从 E 到 F到G。)

Let’s elaborate on these notes a bit. If you want to give the melody a little more of a flow, you can fill in the blanks between these three notes by adding notes in the step between each pitch. We’ll do this by turning the half notes into quarter notes, and adding passing tones between the C and the E, and the E and G. (That means we’ll go from C to D to E, and from E to F to G.)

定义

DEFINITION

传递是从一个重要音符转到另一个重要音符时必须经过的辅助音。过音不是底层和弦结构的一部分,但通常位于三和弦中的两个音符之间。

A passing tone is a subsidiary tone you have to pass through to move from one important note to another. The passing tone is not part of the underlying chord structure, but is often situated between two of the notes in a triad.

结果如下:

The result looks like this:

前两小节,添加了传音。

The first two measures, with passing tones added.

我们仍然留着那张完整的纸条。就这样保留它是可以的,但是这样做会使我们的旋律的这一部分听起来只不过是一个简单的大调音阶 - 事实上就是这样!幸运的是,我们可以通过使用另一种称为相邻音的技术来增加更多的兴趣,在这种技术中,您落在主音符(在本例中为 G)上,短暂地滑动到相邻音符,然后返回到主音符上休息。注意(G,再次)。结果听起来有点像“doo-de-doo”,这比普通的“doo”稍微有趣一些。

We’re still left with that single whole note sitting there. It’s okay to leave it like that, but doing so makes this part of our melody sound like nothing more than a simple major scale—which it actually is! Fortunately, we can add a little more interest by using another technique called a neighboring tone, in which you land on the main note (in this case, the G), slide briefly to an adjacent note, and then return to rest on the main note (G, again). The result sounds a little like “doo-de-doo,” which is slightly more interesting than a plain “doo.”

定义

DEFINITION

您可以通过以下方式创建相邻音调:从一个音高开始,向上或向下移动一个音阶(半音或全音),然后返回到原始音高;相邻音是与原始音符“相邻”的音。与过音一样,相邻音通常不是底层和弦三和弦中的三个音符之一。

You create a neighboring tone by starting on a pitch, moving up or down by a step (either half or whole) and then returning to the original pitch; the neighboring tone is the one that “neighbors” the original note. Like a passing tone, a neighboring tone typically is not one of the three notes in the underlying chord triad.

您可以将相邻音放置在主音上方或下方;对于我们的小旋律,我们将使用 G 上方的邻近音调(恰好是 A)。为了保持节奏简单,我们现在将以 G 上的四分音符开始第二小节;然后在 A 上加一个四分音符,在 G 上加一个二分音符。

You can place neighboring tones above or below the main tone; for our little melody, we’ll use the neighboring tone above the G—which happens to be an A. Keeping the rhythm simple, we’ll now start the second measure with a quarter note on G; then follow it by a quarter note on A and a half note on G.

结果如下:

The result looks like this:

用邻近的音调修饰旋律。

Embellishing the melody with a neighboring tone.

这是一首很好听的小旋律——但它实际上只是旋律的一半。事实上,以音阶的第五个音符结束,实际上建立了一些旋律张力。当你听到这首旋律时,你想要解决紧张,并以某种方式让事情回到他们开始的地方——C调。

This is a nice little melody—but it’s really only half of a melody. Ending on the fifth note of the scale, as it does, actually sets up some melodic tension. When you hear this melody, you want to resolve the tension, and somehow get things back to where they started—on C.

当然,有一个简单的方法可以做到这一点。您所要做的就是创建前两个小节的镜像,但从 G 到 C 向下运动。

There’s an easy way to do this, of course. All you have to do is create a sort of mirror image of the first two measures, but with a downward motion from G to C.

我们要做的第一件事是将第一小节复制到新的第三小节中,除非我们将其复制为第一个音符从 G 开始,并且四分音符以 GFED 进行向下移动。(请注意,此进行将 C 大调三和弦中的两个音符 — G 和 E — 放在该小节的主要节拍上:一和三。)然后,我们将以第四小节中的整个音符结束该运行,该音符位于补品:C.

The first thing we’ll do is copy the first measure into a new third measure—except we’ll copy it with the first note starting on G, and with the quarter notes moving down in a G F E D progression. (Note that this progression puts two of the C Major triad notes—G and E—on the primary beats of the measure: one and three.) Then we’ll end the run with a whole note in the fourth measure, positioned on the tonic note: C.

你完成的旋律如下所示:

Your completed melody looks like this:

你完成的旋律——大声而自豪地演奏!

Your completed melody—play it loud and proud!

那并不是那么困难,不是吗?当然,这首旋律不会赢得任何格莱美奖,但它是一首合法的旋律,而且非常好唱。(相信我,我听过更糟糕的。) 关键是你已经看到,只要你了解所涉及的基本理论,创作旋律并不难。

That wasn’t so difficult, was it? Granted, this melody won’t win any Grammy awards, but it is a legitimate melody, and it’s quite singable. (Trust me, I’ve heard worse.) The key thing is that you’ve seen that creating a melody isn’t hard, as long as you know the basic theory involved.

现在,关于创作旋律当然还有很多东西需要学习,其中一些你将在第 19 章中读到。如果您想继续沿着这个旋律轨道跳到那里,或者继续第 9 章以了解歌曲的另一个重要组成部分:和弦。

Now, there’s certainly a lot more to learn about composing melodies, some of which you’ll read about in Chapter 19. Skip to there if you want to continue along this melodic track, or continue on to Chapter 9 to learn about another important component of a song: chords.

练习

Exercises

练习8-1

Exercise 8-1

聆听各种流行歌曲和古典作品,特别注意主旋律。分析有问题的旋律并确定它们有哪些共同点。特别是聆听由较短旋律短语或主题组成的较长旋律。当您发现一首特别吸引您的旋律时,请尝试确定是什么让它如此耐听。

Listen to a variety of popular songs and classical compositions, paying particular attention to the main melodies. Analyze the melodies in question and determine what qualities they have in common. Listen in particular for longer melodies made up of shorter melodic phrases or motifs. When you find a melody that is particularly appealing to you, try to determine what makes it so listenable.

练习8-2

Exercise 8-2

使用您学到的技巧,将我们在本章中创建的 4 小节旋律扩展为 16 小节的乐曲。

Using the techniques you’ve learned, take the 4-measure melody we created in this chapter and expand it into a 16-measure composition.

您至少需要知道的

The Least You Need to Know

  • 旋律是一首作品中最重要的部分;这是人们记住的部分。
  • Melody is the most important part of a composition; it’s the part that people remember.
  • 旋律由音调和节奏的逻辑进展组成——根据节拍而定的曲调。
  • A melody consists of a logical progression of tones and rhythms—a tune set to a beat.
  • 较长的旋律由简单的主题和简短的旋律短语组成。
  • Longer melodies are built from simple motifs and short melodic phrases.

第9

CHAPTER

9

和弦

Chords

在这一章当中

In This Chapter

  • 了解大三和弦、小三和弦、减三和弦和增三和弦
  • Understanding major, minor, diminished, and augmented triads
  • 将和弦扩展到七度、九度及以上
  • Extending chords to sevenths, ninths, and beyond
  • 创建改变和弦、暂停和弦和强力和弦
  • Creating altered, suspended, and power chords
  • 反转和弦顺序
  • Inverting the chord order
  • 将和弦写入您的音乐
  • Writing chords into your music

第 6 课,第 41 课

Lesson 6, Track 41

通常,音乐不仅仅是单一的旋律线。音乐是音调、节奏和底层和声结构的集合。旋律适合该和声结构,依赖于该和声结构,并且在某些情况下决定了和声结构。

More often than not, music is more than a single melodic line. Music is a package of tones, rhythms, and underlying harmonic structure. The melody fits within this harmonic structure, is dependent on this harmonic structure, and in some cases dictates the harmonic structure.

一首音乐的和声结构是由一系列和弦定义的。和弦是一组同时演奏的音符,而不是按顺序演奏(如旋律)。音符之间的关系(和弦内的音程)定义了和弦的类型;和弦在基础调或音阶中的位置定义了和弦的作用。

The harmonic structure of a piece of music is defined by a series of chords. A chord is a group of notes played simultaneously, rather than sequentially (like a melody). The relationships between the notes—the intervals within the chord—define the type of chord; the placement of the chord within the underlying key or scale defines the role of the chord.

本章都是关于和弦的——而且它很长,因为和弦有很多很多不同类型。不过,不要让各种排列吓倒您;从本质上讲,和弦只不过是一起演奏的单个音符(通常由三度音分开)。就这么简单。如果您可以同时演奏三个音符,则可以演奏和弦。

This chapter is all about chords—and it’s a long one, because there are many, many different types of chords. Don’t let all the various permutations scare you off, however; at the core, a chord is nothing more than single notes (typically separated by thirds) played together. It’s as simple as that. If you can play three notes at the same time, you can play a chord.

然后,本章将向您展示如何构建许多不同类型的和弦,特别强调流行音乐中的和声结构类型。(这一点很重要;古典音乐中的和声研究涉及的内容要复杂得多,规则集略有不同。)而且,当您读完本章后,您可以找到所有不同和弦的“备忘单”在线访问idiotsguides.com/musictheory,快速而全面地参考各种可以想象到的和弦——每个调!

This chapter, then, shows you how to construct many different types of chords, with a particular emphasis on the type of harmonic structure you find in popular music. (This is important; the study of harmony in classical music is much more involved, with a slightly different set of rules.) And, when you’re done reading this chapter, you can find a “cheat sheet” to all the different chords online at idiotsguides.com/musictheory, a quick yet comprehensive reference to every kind of chord imaginable—in every key!

形成和弦

Forming a Chord

好的,这是正式的定义:和弦是三个或更多音符一起演奏的组合。

Okay, here’s the formal definition: a chord is a combination of three or more notes played together.

让我们做一个小练习:坐在最近的钢琴前,将右手拇指放在其中一个白键上。(哪个键并不重要。)现在跳过一个键并将另一根手指放在第三个键上。跳过另一个键,将第三根手指放在从第一个键开始的第五个键上。您现在应该按下三个键,每个手指之间各有一个空键。按下并听——您正在演奏和弦!

Let’s do a little exercise: sit down at the nearest piano and put your right thumb on one of the white keys. (It doesn’t matter which one.) Now skip a key and put another finger on the third key up. Skip another key and put a third finger on the fifth key up from the first. You should now be pressing three keys, with an empty key between each finger. Press down and listen—you’re playing a chord!

基本和弦仅由三个音符组成,按三度排列,称为三和弦。最常见的三和弦是由从基础音阶中拨出的音符构成的,每个音符比前一个音符高两级。因此,例如,如果您想将和弦建立在音阶的主音之上,则可以使用音阶的第一、第三和第五音符。(使用 C 大调音阶时,这些音符将为 C、E 和 G。)如果您想将和弦基于音阶的第二度,请使用音阶的第二、第四和第六音符。(仍然使用 C 大调音阶,这些音符将为 D、F 和 A。)

Basic chords consist of just three notes, arranged in thirds, called a triad. The most common triads are constructed from notes plucked from the underlying scale, each note two steps above the previous note. So, for example, if you want to base a chord on the tonic of a scale, you’d use the first, third, and fifth notes of the scale. (Using the C Major scale, these notes would be C, E, and G.) If you want to base a chord on the second degree of a scale, use the second, fourth, and sixth notes of the scale. (Still using the C Major scale, these notes would be D, F, and A.)

建立一个三音三和弦。

Building a three-note triad.

在特定和弦中,第一个音符称为根音-即使和弦不是由音阶的根音形成的。和弦的其他音符是相对于第一个音符命名的,通常是和弦根音上方的第三个和第五个音符。(例如,如果 C 是和弦的根音,则 E 称为三,G 称为五音。)有时记作 1-3-5。

Within a specific chord, the first note is called the root—even if the chord isn’t formed from the root of the scale. The other notes of the chord are named relative to the first note, typically being the third and the fifth above the chord’s root. (For example, if C is the chord’s root, E is called the third and G is called the fifth.) This is sometimes notated 1-3-5.

笔记

NOTE

和弦的音符并不总是需要一致演奏。您可以一次弹奏一个音符,从底部音符开始(通常但并非总是如此)。这称为对和弦进行琶音,结果是琶音

The notes of a chord don’t always have to be played in unison. You can play the notes one at a time, starting (usually, but not always) with the bottom note. This is called arpeggiating the chord, and the result is an arpeggio.

不同类型的和弦

Different Types of Chords

让我们回到钢琴。将手指放在每隔一个白色音符上,从中音 C 开始形成一个和弦。(您的手指应该放在 C、E 和 G 键上。)听起来不错的和弦,不是吗?现在将手指向右移动一个键,这样您就可以从 D 开始。(您的手指现在应该位于 D、F 和 A 键上。)这个和弦听起来不同——与更快乐的 C 相比,有点悲伤。弦。

Let’s go back to the piano. Putting your fingers on every other white note, form a chord starting on middle C. (Your fingers should be on the keys C, E, and G.) Nice sounding chord, isn’t it? Now move your fingers one key to the right, so that you’re starting on D. (Your fingers should now be on the keys D, F, and A.) This chord sounds different—kind of sad, compared to the happier C chord.

您刚刚演示了大和弦和弦之间的区别。您弹奏的第一个和弦是大调和弦:C 大调。第二个和弦是小调和弦:D小调。与大调和小调音阶一样,大调和弦和小调听起来不同,因为和弦的音程略有不同。

You’ve just demonstrated the difference between major and minor chords. The first chord you played was a major chord: C Major. The second chord was a minor chord: D minor. As with major and minor scales, major and minor chords sound different to the listener, because the intervals in the chords are slightly different.

在大多数情况下,和弦的类型由中间音符决定:三度。当第一个音符和第二个音符之间的音程是大三度(两个全音)时,您就得到了大和弦。当第一个音符和第二个音符之间的间隔是小三度(三个半音)时,您就得到了小和弦。

In most cases, the type of chord is determined by the middle note: the third. When the interval between the first note and the second note is a major third—two whole steps—you have a major chord. When the interval between the first note and the second note is a minor third—three half steps—you have a minor chord.

没有比这更复杂的了。如果更改中间音符,则将和弦从大调更改为小调。

It’s no more complex than that. If you change the middle note, you change the chord from major to minor.

继续阅读以了解有关大调和弦和小调和弦的所有信息,以及其他一些不太大调和不太小调的和弦类型。

Read on to learn all about major and minor chords—as well as some other types of chords that aren’t quite major and aren’t quite minor.

警告

WARNING

您应该始终使用每隔一个字母拼写一个三元组。因此 D♭-FA♭ 是正确的拼写(对于 D♭ 大调和弦),但 C -FA♭ 的等音拼写是错误的。

You should always spell a triad using every other letter. So D♭-F-A♭ is a correct spelling (for a D♭ Major chord), but the enharmonic spelling of C-F-A♭ is wrong.

大和弦

Major Chords

大三和弦由根音、大三度和纯五度组成。例如,C 大调和弦包括 C、E 和 G 音符。E 是 C 之上的大三度;G 是 C 之上的纯五度音。

A major chord consists of a root, a major third, and a perfect fifth. For example, the C Major chord includes the notes C, E, and G. The E is a major third above the C; the G is a perfect fifth above the C.

以下是如何在音阶的每个音符上构建大和弦的快速浏览:

Here’s a quick look at how to build major chords on every note of the scale:

主要三合会。

Major triads.

有许多不同的方法可以指示音乐中的大和弦,如下表所示。

There are many different ways to indicate a major chord in your music, as shown in the following table.

大和弦的记谱法

Notation for Major Chords

大调和弦记谱

Major Chord Notation

例子

Example

主要的

Major

C大调

C Major

少校

Maj

C少校

C Maj

Ma

C马

C Ma

中号

M

厘米

CM

Δ

Δ

ΔC

此外,仅打印和弦的字母(使用大写字母)表示该和弦是大调。(因此,如果您在乐谱中看到 C,您就知道要弹奏 C 大调和弦。)

In addition, just printing the letter of the chord (using a capital letter) indicates that the chord is major. (So if you see C in a score, you know to play a C Major chord.)

提示

TIP

当您根据大调音阶或调的主音演奏和弦时,该和弦始终是大调和弦。例如,在C调中,主和弦是C大调。

When you play a chord based on the tonic note of a major scale or key, that chord is always a major chord. For example, in the key of C, the tonic chord is C Major.

小和弦

Minor Chords

大和弦和小和弦之间的主要区别是第三和弦。虽然大和弦使用大三度,但小和弦会压平该音程以创建小三度。第五个也是一样。

The main difference between a major chord and a minor chord is the third. Although a major chord utilizes a major third, a minor chord flattens that interval to create a minor third. The fifth is the same.

换句话说,小和弦由根音、小三度和纯五度组成。有时记为 1-♭3-5。例如,C 小调和弦包括音符 C、E♭ 和 G。

In other words, a minor chord consists of a root, a minor third, and a perfect fifth. This is sometimes notated 1-♭3-5. For example, the C minor chord includes the notes C, E♭, and G.

以下是如何在音阶的每个音符上构建小和弦的快速浏览:

Here’s a quick look at how to build minor chords on every note of the scale:

小三合会。

Minor triads.

有多种不同的方式来表示小和弦,如下表所示。

There are many different ways to indicate a minor chord, as shown in the following table.

小和弦的记谱法

Notation for Minor Chords

小调和弦记谱

Minor Chord Notation

例子

Example

次要的

minor

C小调

C minor

分钟

min

分钟C

C min

mi

C mi

m

厘米

Cm

减和弦

Diminished Chords

减和弦就像是降五度的小和弦。它有一种诡异而不祥的声音。您可以用根音、小三度和减五度构建一个减和弦。有时记为 1-♭3-♭5。

A diminished chord is like a minor chord with a lowered fifth. It has a kind of eerie and ominous sound. You build a diminished chord with a root note, a minor third, and a diminished (lowered) fifth. This is sometimes noted 1-♭3-♭5.

提示

TIP

在这本书和本书的其他和弦表中,临时记号仅适用于特定的和弦;它们不会延续到连续的和弦。

In this and other chord charts in this book, the accidentals apply only to the specific chord; they don’t carry across to successive chords.

例如,C 减和弦包括音符 C、E♭ 和 G♭。

For example, the C diminished chord includes the notes C, E♭, and G♭.

以下是如何在音阶的每个音符上构建减和弦的快速浏览:

Here’s a quick look at how to build diminished chords on every note of the scale:

三合会减少。

Diminished triads.

笔记

NOTE

注意 E♭ 减和弦五度上的双降号。

Note the double flat on the fifth of the E♭ diminished chord.

有许多不同的方法来表示减和弦,如下表所示。

There are many different ways to indicate a diminished chord, as shown in the following table.

减和弦的记谱法

Notation for Diminished Chords

减和弦记谱

Diminished Chord Notation

例子

Example

减少了

diminished

C减少

C diminished

迪敏

dimin

迪明

C dimin

暗淡

dim

暗淡的C

C dim

°

°

摄氏度

增强和弦

Augmented Chords

增和弦就像带有升五度音的大和弦;因此,增和弦由根音、大三度和增五度组成。有时记为 1-3- 5。

An augmented chord is like a major chord with a raised fifth; thus an augmented chord consists of a root, a major third, and an augmented (raised) fifth. This is sometimes notated 1-3-5.

例如,C 增和弦包括音符 C、E 和 G

For example, the C augmented chord includes the notes C, E, and G.

以下是如何在音阶的每个音符上构建增强和弦的快速浏览:

Here’s a quick look at how to build augmented chords on every note of the scale:

增强三合会。

Augmented triads.

笔记

NOTE

您是否在增和弦插图中发现了 B 增和弦五度上的双升号?

Did you spot the double sharp on the fifth of the B augmented chord in the illustration of augmented chords?

有多种不同的方式来表示增和弦,如下表所示。

There are many different ways to indicate an augmented chord, as shown in the following table.

增强和弦的记谱法

Notation for Augmented Chords

增强和弦记谱

Augmented Chord Notation

例子

Example

增强的

augmented

C增强型

C augmented

八月

aug

八月

C aug

+

+

C+

C+

笔记

NOTE

尽管了解减和弦和增和弦很重要,但您不会遇到太多,尤其是在流行音乐中。如果您将和弦的根音建立在大调音阶的音符上,正如您将在第 10 章中学到的那样,只有七度三和弦会形成减和弦。(基于音阶其他音阶的三和弦形成大调或小调和弦。)在大调音阶的任何音阶上都没有发现增和弦。

Although it’s important to learn about diminished and augmented chords, you won’t run into too many of them, especially in popular music. If you base the root of your chord on the notes of a major scale, as you’ll learn in Chapter 10, only the seventh degree triad forms a diminished chord. (Triads based on the other degrees of the scale form major or minor chords.) There is no augmented chord found on any degree of the major scale.

和弦扩展

Chord Extensions

和弦可以包含三个以上的音符。当您超越基本三和弦时,添加到和弦的其他音符称为扩展

Chords can include more than three notes. When you get above the basic triad, the other notes you add to a chord are called extensions.

和弦扩展通常以三度添加;因此,第一种扩展和弦称为七和弦,因为七和弦是五度以上的三度和弦。接下来是九和弦,在七和弦之上添加三和弦,依此类推。

Chord extensions are typically added in thirds; so the first type of extended chord is called a seventh chord because the seventh is a third above the fifth. Next up would be the ninth chord, which adds a third above the seventh, and so on.

和弦扩展很高兴知道,但您可以简化大多数音乐片段,只使用基本的三和弦。扩展的音符为声音增添了更多的色彩或风味,有点像音乐调味料。就像一顿美餐一样,重要的是里面的东西——而且你总是可以不加调味料。

Chord extensions are nice to know, but you can simplify most pieces of music to work with just the basic triads. The extended notes add more color or flavor to the sound, kind of like a musical seasoning. Like a good meal, what’s important is what’s underneath—and you can always do without the seasoning.

因此,如果您看到一首包含大量七和弦和九和弦的音乐,请不要惊慌 - 您可能可以在没有扩展的情况下播放该音乐,并且听起来仍然不错。当然,为了获得完整的体验,您需要弹奏书面的扩展和弦。但请记住,基本和声结构来自基本三和弦;不是来自扩展。

So if you see a piece of music with lots of seventh and ninth chords, don’t panic—you can probably play the music without the extensions and still have things sound okay. Of course, for the full experience, you want to play the extended chords as written. But remember, the basic harmonic structure comes from the base triads; not from the extensions.

也就是说,充分理解扩展和弦是有帮助的,就像一个好的厨师必须充分理解他或她可以使用的所有不同的调味料一样。这意味着您需要知道如何构建扩展和弦,以便在必要时可以将它们放入混音中。

That said, it helps to have a full understanding of extended chords, just as a good chef must have a full understanding of all the different seasonings at his or her disposal. That means you need to know how to build extended chords, so you can throw them into the mix when necessary.

七度

Sevenths

第七和弦是最常见的和弦扩展,事实上,它非常常见,以至于一些音乐理论家将其归类为基本和弦类型,而不是扩展。无论如何,您需要像熟悉三和弦一样熟悉七和弦。他们就是这么重要。

The seventh chord is the most common chord extension—in fact, it’s so common that some music theorists categorize it as a basic chord type, not as an extension. In any case, you need to be as familiar with seventh chords as you are with triads. They’re that important.

在特定调或音阶内创建第七和弦通常就像在基本三和弦的第五和弦上添加另一个第三和弦一样简单。这为您提供了 1-3-5-7 结构,相当于弹奏音阶中的所有其他音符。

Creating a seventh chord within a specific key or scale is normally as simple as adding another third on top of the fifth of the base triad. This gives you a 1-3-5-7 structure—the equivalent of playing every other note in the scale.

实际上七和弦有三种基本类型:大调、小调和属和弦。大七和弦和小七和弦听起来很甜美;属七和弦有其自身的内部张力。

There are actually three basic types of seventh chords: major, minor, and dominant. Major and minor seventh chords are kind of sweet sounding; the dominant seventh chord has its own internal tension.

属七度

Dominant Sevenths

属七和弦(有时简称为“七”和弦,没有其他名称)采用大三和弦并在上面添加小七和弦。换句话说,它是一个降七度的大和弦;和弦本身由根音、大三度、纯五度和小七度组成。有时记作 1-3-5-♭7。

The dominant seventh chord—sometimes just called the “seventh” chord, with no other designation—takes a major triad and adds a minor seventh on top. In other words, it’s a major chord with a lowered seventh; the chord itself consists of a root, major third, perfect fifth, and minor seventh. This is sometimes notated 1-3-5-♭7.

例如,C7 和弦包括音符 C、E、G 和 B♭。

For example, a C7 chord includes the notes C, E, G, and B♭.

属七和弦是一个特别重要且经常使用的扩展,因为如果您根据大调音阶的第五(属)音弹奏七和弦,就会得到这样的结果。正如您将在第 10 章中了解到的那样,属和弦经常用于建立通向主和弦的张力;当你在占主导地位的三和弦(大三和弦和小七和弦的混合)中添加七度时,你会给音乐带来更多的张力。所以当你想回到主音时,你可以用属七和弦来设置它。(当然,尽管也可以在音阶的任何音符上形成属七和弦,但不限于第五音。)

The dominant seventh chord is an especially important—and frequently used—extension, as this is what you get if you play a seventh chord based on the fifth (dominant) tone of a major scale. As you’ll learn in Chapter 10, the dominant chord is frequently used to set up the tension leading back to the tonic chord; when you add a seventh to the dominant triad (with its mix of major triad and minor seventh), you introduce even more tension to the music. So when you want to get back home to the tonic, you set it up with a dominant seventh chord. (Although it’s possible, of course, to also form dominant seventh chords on any note of the scale—it’s not limited to the fifth tone.)

以下是如何在音阶的每个音符上构建属七和弦的快速浏览:

Here’s a quick look at how to build dominant seventh chords on every note of the scale:

属七和弦。

Dominant seventh chords.

实际上只有一种方法来表示属七和弦:在和弦名称后面放置一个 7。例如,您可以这样标记 C 属七和弦:C7。

There’s really only one way to notate a dominant seventh chord: by placing a single 7 after the name of the chord. For example, you notate a C dominant seventh chord like this: C7.

大七度

Major Sevenths

大七和弦采用标准大和弦,并在现有的三个音符之上添加大七和弦。这将为您提供一个由根音、大三度、纯五度和大七度组成的和弦。例如,C 大调 7 和弦包括音符 C、E、G 和 B。

The major seventh chord takes a standard major chord and adds a major seventh on top of the existing three notes. This gives you a chord consisting of a root, major third, perfect fifth, and major seventh. For example, a C Major 7 chord includes the notes C, E, G, and B.

以下是如何在音阶的每个音符上构建大七和弦的快速浏览:

Here’s a quick look at how to build major seventh chords on every note of the scale:

大七和弦。

Major seventh chords.

有多种表示大七和弦的方法,如下表所示。

There are several ways to indicate a major seventh chord, as shown in the following table.

大七和弦的记谱法

Notation for Major Seventh Chords

大七和弦记谱

Major Seventh Chord Notation

例子

Example

主要 7

Major 7

C大调7

C Major 7

少校7

Maj7

C少校7

C Maj7

M7

M7

CM7

CM7

Δ7

Δ7

Δ7

CΔ7

小七度

Minor Sevenths

小七和弦采用标准小和弦,并在现有的三个音符之上添加小七和弦。这将为您提供一个由根音、小三度、纯五度和小七度组成的和弦。(有时记作 1-♭3-5-♭7。)

The minor seventh chord takes a standard minor chord and adds a minor seventh on top of the existing three notes. This gives you a chord consisting of a root, minor third, perfect fifth, and minor seventh. (This is sometimes notated 1-♭3-5-♭7.)

例如,C 小调 7 和弦包括音符 C、E♭、G 和 B♭。

For example, a C minor 7 chord includes the notes C, E♭, G, and B♭.

以下是如何在音阶的每个音符上构建小七和弦的快速浏览:

Here’s a quick look at how to build minor seventh chords on every note of the scale:

小七和弦。

Minor seventh chords.

有多种表示小七和弦的方法,如下表所示。

There are several ways to indicate a minor seventh chord, as shown in the following table.

小七和弦的记谱

Notation for Minor Seventh Chords

小七和弦记谱

Minor Seventh Chord Notation

例子

Example

小7

minor 7

C小调7

C minor 7

分钟7

min7

C分钟7

C min7

米7

m7

厘米7

Cm7

其他七度

Other Sevenths

当我说七和弦有三种基本类型时,我为其他不常用的七和弦类型敞开了大门。事实上,您可以将小七和弦或大七和弦放在任何类型的三和弦(大三和弦、小三和弦、增七和弦或减七和弦)之上,以创建不同类型的七和弦。

When I said there were three basic types of seventh chords, I left the door open for other types of less frequently used seventh chords. Indeed, you can stick either a minor or a major seventh on top of any type of triad—major, minor, augmented, or diminished—to create different types of seventh chords.

例如,大七和弦固定在小三和弦之上会创建小大七和弦。(也就是说,基和弦是小和弦,但七和弦是大和弦。)这被标记为 1-♭3-5-7;C 小调大 7 和弦将包括音符 C、E♭、G 和 B(自然)。

For example, a major seventh stuck on top of a minor triad creates a minor major seventh chord. (That is, the base chord is minor, but the seventh is major.) This is notated 1-♭3-5-7; a C minor Major 7 chord would include the notes C, E♭, G, and B (natural).

其他类型的七和弦。

Other types of seventh chords.

减三和弦之上的小七和弦创建了所谓的半减七和弦,如下所示:1-♭3-♭5-♭7。它有时被标记为带有降五度的小七度。(如果您根据大调的第七音弹奏第七和弦,就会得到这个和弦。)如果您想要完整的减七和弦,则需要将第七和弦双降,如下所示:1-♭3- ♭5- ♭♭ 7.

A minor seventh on top of a diminished triad creates what’s called a half-diminished seventh chord, like this: 1-♭3-♭5-♭7. It’s sometimes notated as a minor 7 with a flatted fifth. (This is the chord you get if you play a seventh chord based on the seventh tone of a major key.) If you want a full diminished seventh chord, you need to double-flat the seventh, like this: 1-♭3-♭5-♭♭7.

将小七和弦放在增七和弦之上,您就会得到增七和弦,如下所示:1-3- 5-♭7。增三和弦之上的大七和弦会创建带有升五度 ( 5) 的大七和弦,如下所示:1-3- 5-7 ... 等等。

Put a minor seventh on top of an augmented triad and you get an augmented seventh chord, like this: 1-3-5-♭7. A major seventh on top of an augmented triad creates a major seventh chord with a raised fifth (5), like this: 1-3-5-7 … and so on.

其他扩展

Other Extensions

尽管第七和弦几乎与朴素的三和弦一样常见,但其他和弦扩展的使用较少。这并不意味着您不需要理会他们;而是意味着您不需要为他们操心。如果使用得当,六度和九度以及其他扩展和弦可以为一首音乐增色不少。

Although the seventh chord is almost as common as an unadorned triad, other chord extensions are less widely used. That doesn’t mean you don’t need to bother with them; when used properly, sixths and ninths and other extended chords can add a lot to a piece of music.

那么,让我们看看可以用来为基本和弦增添趣味的其他扩展。

Let’s look, then, at the other extensions you can use to spice up your basic chords.

六度

Sixths

我之前说过,所有和弦都是基于彼此相隔三分之一的音符。该规则有一个重要的例外:第六和弦。对于六和弦(有时称为附加六和弦),您可以从基本三和弦开始;然后在第五个音符上方添加一个额外的音符,或者在根音上方添加一个第六个音符。您可以有大六和弦和小六和弦,以及减三和弦和增三和弦之上的六度,如下图所示:

I said previously that all chords are based on notes a third apart from each other. There’s an important exception to that rule: the sixth chord. With a sixth chord (sometimes called an added sixth chord), you start with a basic triad; then add an extra note a second above the fifth—or a sixth above the root. You can have major sixth and minor sixth chords, as well as sixths above diminished and augmented triads, as shown in the following figure:

不同类型的六和弦。

Different types of sixth chords.

笔记

NOTE

在本章后面,您将学习和弦转位,即和弦中音符的顺序发生变化。有趣的是,六和弦可以被视为只不过是七和弦的第一个转位。例如,C 大调 6 和弦 (CEGA) 包含与 A 小调 7 和弦 (ACEG) 相同的音符,只是顺序不同。因此,有时您可能会看到六和弦记为七和弦,而低音中有一个单独的音符(第三音)。(C 大调 6 可以这样表示:Am7/C。)这有点高级——读完转位部分后,请回到此侧边栏。那么这就有意义了。

Later in this chapter, you’ll learn about chord inversions, where the order of the notes in a chord is changed. Interestingly, a sixth chord can be viewed as nothing more than the first inversion of a seventh chord. For example, the C Major 6 chord (C E G A) contains the same notes as the A minor 7 chord (A C E G), just in a different order. For that reason, you sometimes might see sixth chords notated as seventh chords with a separate note (the third) in the bass. (C Major 6 could be notated like this: Am7/C.) This is a little advanced—come back to this sidebar after you’ve read the section on inversions. It’ll make sense then.

九度

Ninths

九和弦在七和弦的四个音符之上添加另一个三分之一。这样就形成了五个单独的笔记;每个相隔三分之一。您可以拥有基于大三和弦和小三和弦的九和弦,以及大七和弦和小七和弦。这里只是您可以构建的不同类型的九和弦的一小部分:

A ninth chord adds another third on top of the four notes in the seventh chord. That makes for five individual notes; each a third apart. You can have ninth chords based on both major and minor triads, with both major and minor sevenths. Here’s just a smattering of the different types of ninth chords you can build:

不同类型的九和弦。

Different types of ninth chords.

第七、九和十一和弦在现代爵士音乐中经常使用,通常采用复杂的和声概念。

Seventh, ninth, and eleventh chords see frequent use in modern jazz music, which often employs sophisticated harmonic concepts.

笔记

NOTE

当您到达九和弦时,您假设该和弦包括底层三和弦和七和弦。

When you get up to the ninth chord, you assume that the chord includes both the underlying triad and the seventh.

十一等……及以后

Elevenths … and Beyond

第十一个和弦在第九个和弦之上添加另一个音符,总共六个音符:1-3-5-7-9-11。您可以在任何类型的三和弦之上设置第十一个和弦,以及各种第七和第九个变体 - 尽管最常见的第十一个和弦始终使用基础调或音阶中未更改的音符。

An eleventh chord adds another note a third above the ninth, for six notes total: 1-3-5-7-9-11. You can set an eleventh on top of any type of triad, along with all sorts of seventh and ninth variations—although the most common eleventh chord always uses the unchanged note from within the underlying key or scale.

与九和弦一样,您必须对十一和弦做出一些假设。当然,你必须假设底层的三合会,但你也必须假设第七和第九的存在。

As with the ninth chord, you have to make a few assumptions with the eleventh chord. You have to assume the underlying triad, of course, but you also have to assume the presence of both the seventh and the ninth.

不同类型的十一和弦。

Different types of eleventh chords.

也可以通过在十一个和弦之上添加另一个三度来构建十三和弦。但这是你能达到的最高值,因为下一个和弦(第十五和弦)的新音符距离和弦根音正好高两个八度。当你所做的只是加倍根音时,将其称为新和弦是没有意义的。

It’s also possible to construct a thirteenth chord by adding another third above the eleventh. But that’s as high as you can go because the new note for the next chord up—the fifteenth chord—is exactly two octaves up from the chord root. There’s no point in calling it a new chord when all you’re doing is doubling the root note.

改变和弦、悬念和弦和强力和弦

Altered, Suspended, and Power Chords

为了确保您拥有全面的和弦理论背景,您还需要了解其他三种和弦类型。这些是时不时出现的基本和弦类型的变体,可以帮助您记下更复杂的音乐声音。

To ensure that you have a comprehensive background in chord theory, there are three other chord types you need to know about. These are variations on the basic chord types that crop up from time to time—and can help you notate more complex musical sounds.

改变和弦

Altered Chords

当你进入第七、第九和十一和弦时,你可能会遇到很多不同的变化。又是数学;和弦中的音符越多,您可以创建的降号和升号的组合就越多。

When you get into seventh and ninth and eleventh chords, you run into the possibility of a lot of different variations. It’s math again; the more notes in a chord, the more possible combinations of flats and sharps and such you can create.

这就是为什么我们有一种叫做改变和弦的东西。改变和弦采用标准的、易于理解的和弦并改变它们。这种改变——可能是降低的五度,或者可能是增加的九度——通常在主和弦符号之后的括号中注明。(顺便说一句,不要将改变的和弦与第 16 章中讨论的改变的低音和弦混淆。名称相似,但它们是完全不同的野兽。)

This is why we have something called altered chords. Altered chords take standard, easy-to-understand chords and alter them. The alteration—a lowered fifth, perhaps, or maybe an added ninth—is typically notated in parentheses, after the main chord notation. (By the way, don’t confuse altered chords with the altered bass chords discussed in Chapter 16. The names are similar but they’re completely different beasts.)

例如,假设您想写一个 C 大调七和弦,但降五度。(我知道……这是一个听起来很奇怪的组合。)为了注意到这一点,你可以从基本和弦 — CM7 — 并在括号中添加更改,如下所示:CM7(♭5)。阅读此和弦的任何人都知道从基本和弦开始,然后进行括号内所示的更改。

For example, let’s say you wanted to write a C Major seventh chord, but with a lowered fifth. (I know … that’s a really weird-sounding combination.) To notate this, you start with the basic chord—CM7—and add the alteration in parentheses, like this: CM7(♭5). Anyone reading this chord knows to start with the basic chord and then make the alteration shown within the parentheses.

这是另一个例子:假设您有一个 C 小调和弦,想要添加第九个和弦,但不添加第七个和弦。现在,如果您想包含第七和弦,则需要 Cm9 和弦,这是相对标准的。但要省略第七个需要更多的计划。同样,您从底层三元组开始(在本例中为 Cm),并在括号内进行更改,如下所示:Cm(add9)。读过这个和弦的人都知道先弹奏 C 小调三和弦,然后加上九度音——而不是弹奏标准的 Cm9 和弦。

Here’s another example: let’s say you have a C minor chord and want to add the ninth but without adding the seventh. Now, if you wanted to include the seventh, you’d have a Cm9 chord, which is relatively standard. But to leave out the seventh takes a bit more planning. Again, you start with the underlying triad—in this case, Cm—and make the alteration within parentheses, like this: Cm(add9). Anyone reading this chord knows to play a C minor triad and then add the ninth—not to play a standard Cm9 chord.

九和弦与附加九和弦的三和弦之间的区别。

The difference between a ninth chord and a triad with an added ninth.

提示

TIP

添加的注释可以用“add”一词加数字来表示,也可以仅用括号内的数字来表示。

Added notes can be notated by the word add plus the number, or just the number—within parentheses.

在处理改变的和弦时,您可以使用无数种可能性。您甚至可以为每个和弦包含多个变体 - 您所要做的就是不断将变体添加到和弦记谱的末尾。只需记住从基和弦开始,并使您的更改尽可能清晰。(而且,如果其他方法都失败了,你可以在五线谱上写下和弦的音符——只是为了确保每个人都能理解。)

There are an endless number of possibilities you can use when working with altered chords. You can even include more than one variation per chord—all you have to do is keep adding the variations onto the end of the chord notation. Just remember to start with the base chord and make your alterations as clear as possible. (And, if all else fails, you can write out the notes of the chord on a staff—just to make sure everybody understands.)

悬念和弦

Suspended Chords

我们已经习惯了将和弦视为 1-3-5 三和弦,因此对这种安排的任何改变都会让我们的耳朵感到不舒服。(并不是说你应该把拇指放在耳朵里,但你知道我的意思。)这就是悬挂和弦如此强大的原因,尤其是在正确使用的情况下。

We’re so used to hearing a chord as a 1-3-5 triad that any change to this arrangement really stands out like a sore thumb to our ears. (Not that you should put your thumbs in your ears, but you know what I mean.) This is what makes a suspended chord so powerful, especially when used properly.

悬置和弦暂时将大和弦的正常大三度上移半音到纯四度。三和弦第二个音符的这种暂停对我们的耳朵来说是非常错误的,我们希望听到通过将第二个音符从第四个音符向下移动到第三个音符来解决暂停的问题——尽快。

A suspended chord temporarily moves the normal major third of a major chord up a half step to a perfect fourth. This suspension of the second note of the triad is so wrong to our ears, we want to hear the suspension resolved by moving the second note down from the fourth to the third—as quickly as possible.

例如,C 悬置和弦包括音符 CFG,而不是 C 大调的 CEG。这产生了令人难以置信的紧张感,因为第四个(F)听起来真的很不合适;您的耳朵希望 F 向下移动到 E 以创建更舒缓的 C 大调三和弦。

For example, a C suspended chord includes the notes C F G—instead of the C E G of C Major. This sets up an incredible tension, as the fourth (F) sounds really out of place; your ears want the F to move down to the E to create the more soothing C Major triad.

事实上,大多数情况下,您确实可以解决悬置和弦,尤其是在音乐乐句的末尾。您可以使用悬置和弦来设置所需的乐句结尾张力,然后快速将悬置和弦解析为正常的大和弦,如下所示:

In fact, most often you do resolve suspended chords—especially at the end of a musical phrase. You can use the suspended chord to set up the desired end-of-phrase tension, but then quickly resolve the suspended chord to the normal major chord, like this:

解决悬置和弦——第一个和弦中的 F 下降到最后一个和弦中的 E。

Resolving a suspended chord—the F in the first chord drops down to the E in the final chord.

笔记

NOTE

正如您从示例中看到的,您可以使用短语sus4或更简单地sus来标记悬置和弦。

As you can see from the example, you notate a suspended chord with the phrase sus4, or more simply sus.

从纯四度到大三度的分辨率只是半步的移动,但这小小的半步却带来了天壤之别;在你采取行动之前,你会坐在座位边缘等待那种令人难以置信的紧张情绪得到解决。

The resolution from the perfect fourth to the major third is just a half-step movement, but that little half step makes a world of difference; until you make the move, you’re sitting on the edge of your seat waiting for that incredible tension to resolve.

强力和弦

Power Chords

如果你想要一个非常简单的和弦,一个具有大量原始力量的和弦,你可以只演奏根音和第五个和弦,而忽略第三个和弦。这种类型的和弦称为强力和弦;通过在和弦音符后添加“5”来表示。(例如,G 强力和弦记为 G5,并且仅包含音符 G 和 D。)强力和弦在某些类型的流行音乐(特别是硬摇滚和重金属流派)中被吉他手大量使用。

If you want a really simple chord, one with a lot of raw power, you can play just the root and the fifth, leaving out the third. This type of chord is called a power chord; it is noted by adding a “5” after the chord note. (For example, a G power chord is notated G5, and includes only the notes G and D.) Power chords are used a lot by guitarists in certain types of popular music, in particular the hard rock and heavy metal genres.

笔记

NOTE

在古典音乐理论中,强力和弦被称为空五度,从技术上讲是一个音程,而不是和弦。

In classical music theory, a power chord is called an open fifth, and is technically an interval, not a chord.

强力和弦有一个不好的地方:如果你连续使用一堆强力和弦,就会产生一种叫做平行五度和弦的东西。正如您将了解到的,平行五度是不受欢迎的,尤其是在古典音乐理论中。因此,请谨慎使用强力和弦,并且如果可能的话,不要连续使用。

Here’s one bad thing about power chords: if you use a bunch of them in a row, you create something called parallel fifths. As you’ll learn, parallel fifths are frowned upon, especially in classical music theory. So use power chords sparingly and—if at all possible—not consecutively.

强力和弦,音阶上下。

Power chords, up and down the scale.

颠倒顺序

Inverting the Order

尽管当根音位于底部且五度位于顶部时最容易理解和弦,但您不必严格按照此顺序演奏音符。和弦可以倒置,这样根音就不是最低音符,这会给和弦带来稍微不同的声音。(当您在和弦之间移动手指时,它还可以使和弦更容易在钢琴上弹奏;转位有助于将相邻和弦中的音符更紧密地组合在一起。)

Although it’s easiest to understand a chord when the root is on the bottom and the fifth is on the top, you don’t have to play the notes in precisely this order. Chords can be inverted so that the root isn’t the lowest note, which can give a chord a slightly different sound. (It can also make a chord easier to play on a piano, when you’re moving your fingers from chord to chord; inversions help to group the notes from adjacent chords closer together.)

当您重新排列和弦的音符以使第三个和弦位于底部 (3-5-1) 时,您就形成了所谓的第一个转位。(以 C 大调和弦为例,第一个转位为 EG C。)第二个转位将和弦的五度放在底部,然后是根音和三度 (5-1-3)。(还是以C大调为例,第二转位排列为GC E。)根音在下的标准三和弦形式称为根转

When you rearrange the notes of a chord so that the third is on the bottom (3-5-1), you form what is called the first inversion. (Using a C Major chord as an example, the first inversion is arranged E G C.) The second inversion is where you put the fifth of the chord on the bottom, followed by the root and third (5-1-3). (Again using C Major as an example, the second inversion is arranged G C E.) The standard triad form, with the root on the bottom, is called the root inversion.

C 大调和弦的第一转位和第二转位。

The first and second inversions of a C Major chord.

如果您使用扩展和弦,则可能有两种以上的转位。例如,七和弦的第三转位将七和弦置于低音;九和弦的第四转位将九和弦置于低音。

If you’re working with extended chords, there are more than two possible inversions. For example, the third inversion of a seventh chord puts the seventh in the bass; the fourth inversion of a ninth chord puts the ninth in the bass.

和弦音符的特定顺序也称为该和弦的发声。您可以通过将低音音符添加到标准和弦记谱来指定发声,而无需编写所有音符。您可以通过在和弦记谱后添加斜线,然后添加应在和弦底部演奏的音符名称来完成此操作。

The particular order of a chord’s notes is also referred to as that chord’s voicing. You can specify a voicing without writing all the notes by adding a bass note to the standard chord notation. You do this by adding a slash after the chord notation, and then the name of the note that should be played on the bottom of the chord.

例如,如果您想指示 C 大调和弦的第一个转位(通常为 CEG,但第一个转位为 EGC),您可以这样写:C/E。这告诉音乐家演奏 C 大调和弦,但将 E 放在低音上 - 这恰好是和弦的第一个转位。如果您想指示第二个反转 (GCE),您可以这样写:C/G。这告诉音乐家用低音 G 演奏 C 大调和弦。

For example, if you want to indicate a first inversion of a C Major chord (normally C E G, but E G C in the first inversion), you’d write this: C/E. This tells the musician to play a C Major chord, but to put an E in the bass—which just happens to be the first inversion of the chord. If you wanted to indicate a second inversion (G C E), you’d write this: C/G. This tells the musician to play a C Major chord with a G in the bass.

您还可以使用此符号来指示要在低音声部中演奏的其他非和弦音符。例如,Am7/D 告诉音乐家弹奏 A 小调七和弦,但在低音中添加 D,这是 A 小调七和弦本身不存在的音符。

You also can use this notation to indicate other, nonchord notes to be played in the bass part. For example, Am7/D tells the musician to play an A minor seventh chord, but to add a D in the bass—a note that doesn’t exist within the A minor seventh chord proper.

低音为 D 的 A 小七和弦 — 不是标准的七和弦。

An A minor seventh chord with a D in the bass—not your standard seventh chord.

警告

WARNING

不要将和弦/低音符号与类似的符号混淆(例如带有水平分隔线的分数,而不是和弦/低音斜线)。该符号告诉音乐家(通常是钢琴家)弹奏一个和弦而不是另一个。例如,如果您发现应该用右手弹奏 Cm 和弦,用左手弹奏 Dm 和弦。

Don’t confuse the chord/bass notation with the similar (like a fraction with a horizontal divider, as opposed to the chord/bass diagonal slash). The notation tells a musician—typically a pianist—to play one chord over another. For example, if you see you should play a Cm chord with your right hand, and a Dm chord with your left.

为您的音乐添加和弦

Adding Chords to Your Music

当您想在书面音乐中表示和弦时,可以在五线谱上方添加和弦符号,如下所示:

When you want to indicate a chord in your written music, you add the chord symbol above the staff, like this:

将和弦符号写在五线谱上方。

Write the chord symbol above the staff.

该和弦将应用到音乐中,直到您插入另一个和弦。然后应用新的和弦,直到下一个和弦发生变化。例如,在以下音乐中,您将在第 1 小节中演奏 C 大调和弦,在第 2 小节中演奏 F 大调和弦,在第 3 小节的前半部分演奏 C 大调和弦,在第 3 小节的后半部分演奏 G7 和弦3,以及第 4 小节的 C 大调和弦。

The chord applies in the music until you insert another chord. Then the new chord applies—until the next chord change. For example, in the following piece of music you’d play a C Major chord in measure 1, an F Major chord in measure 2, a C Major chord in the first half of measure 3, a G7 chord in the second half of measure 3, and a C Major chord in measure 4.

改变音乐中的和弦。

Changing chords in your music.

如果您正在为流行或爵士乐队中的吉他或节奏部分(贝斯、钢琴等)编写部分,则不必在五线谱上写出特定的音符。吉他手将知道如何弹奏指定的和弦,钢琴演奏者将知道如何演奏和弦进行,而贝斯手将知道如何弹奏和弦的根音。

If you’re writing a part for guitar, or for a rhythm section (bass, piano, and so forth) in a pop or jazz band, you don’t have to write out specific notes on the staff. A guitarist will know to strum the indicated chords, a piano player will know to comp through the chord progressions, and the bass player will know to play the root of the chord.

定义

DEFINITION

伴奏是爵士乐和流行音乐家用来在特定音乐作品后面演奏即兴伴奏的一种技术。钢琴演奏者可以通过演奏块和弦或琶音和弦来进行编曲;吉他手可以通过弹奏指定的和弦来进行编曲。

Comping is a technique used by jazz and pop musicians to play an improvised accompaniment behind a particular piece of music. A piano player might comp by playing block or arpeggiated chords; a guitarist might comp by strumming the indicated chords.

您可以使用斜线代替五线谱上的传统音符来编写伴奏声部。通常,每个节拍使用一个斜线,因此 4/4 小节将有四个斜线,如下所示:

You write a comp part by using slashes in place of traditional notes on the staff. Typically, you use one slash per beat, so a measure of 4/4 will have four slashes, like this:

为节奏部分编写和弦。

Writing chords for a rhythm section.

您可以通过写出节奏来指示应演奏的特定节奏,但使用斜线而不是音符头。结果看起来像这样:

You can indicate specific rhythms that should be played by writing out the rhythm, but with slashes instead of note heads. The result looks something like this:

表示和弦伴奏的特定节奏。

Indicating a specific rhythm for the chord accompaniment.

如果您专门为吉他写作,您还可以选择包含吉他指法谱。(带有指法谱的吉他声部有时称为吉他指法。)指法谱向吉他手展示如何按动和弦,对于初级演奏者非常有用。更高级的演奏者可能不需要这种帮助,除非您指示一个特别复杂的和弦。

If you’re writing specifically for guitar, you also have the option of including guitar tablature. (A guitar part with tablature is sometimes called guitar tab.) Tablature shows the guitarist how to fret the chord, and is very useful for beginning-level players. More advanced players probably don’t need this assistance, unless you’re indicating a particularly complex chord.

添加了指法谱的吉他声部。

A guitar part with tablature added.

笔记

NOTE

如果您访问idiotsguides.com/musictheory,您会发现几乎所有您能想到的和弦类型的综合参考——大和弦、小和弦、扩展和弦,凡是您能想到的和弦。您将了解如何构造每个和弦,学习吉他指法谱,并发现描述和弦的替代方法。将此网站添加为书签——您会从中受益匪浅!

If you go to idiotsguides.com/musictheory, you’ll find a comprehensive reference to just about every kind of chord you can think of—major chords, minor chords, extensions, you name it. You’ll find out how to construct each chord, learn the guitar tablature, and discover alternate ways to describe the chord. Keep this website bookmarked—you’ll get a lot of use out of it!

练习

Exercises

练习9-1

Exercise 9-1

说出下列大调和弦的名称。

Name the following major chords.

练习9-2

Exercise 9-2

说出下列小和弦的名称。

Name the following minor chords.

练习9-3

Exercise 9-3

在五线谱上写下以下大调和弦。

Write the following major chords on the staff.

练习9-4

Exercise 9-4

在五线谱上写下以下小和弦。

Write the following minor chords on the staff.

练习9-5

Exercise 9-5

说出下列扩展和弦的名称。

Name the following extended chords.

练习9-6

Exercise 9-6

在五线谱上写下以下扩展和弦。

Write the following extended chords on the staff.

练习9-7

Exercise 9-7

写出下列和弦的第一转位和第二转位。

Write the first and second inversions of the following chords.

练习9-8

Exercise 9-8

通过将悬挂音符(和弦的中间音符)降低到下方半音的音符来解决以下悬挂和弦。

Resolve the following suspended chords by lowering the suspended note (the middle note of the chord) to the note a half step below.

您至少需要知道的

The Least You Need to Know

  • 和弦由同时演奏的三个或更多音符(称为三和弦)组成,每个音符通​​常比前一个音符高三分之一。
  • A chord consists of three or more notes (called a triad) played simultaneously—with each note typically a third above the previous note.
  • 大和弦包括根音、大三度和纯五度。
  • A major chord includes the root note, a major third, and a perfect fifth.
  • 小和弦包括根音、小三度和纯五度。
  • A minor chord includes the root note, a minor third, and a perfect fifth.
  • 基本三和弦之上的扩展通常以三分之一的形式添加,可以是大调也可以是小调。
  • Extensions above the basic triad are typically added in thirds, and can be either major or minor.
  • 小七和弦是带有小七度的小三和弦;大七和弦是带有大七度的大三和弦;属七和弦是带有小七和弦的大三和弦。
  • A minor seventh chord is a minor triad with a minor seventh; a major seventh chord is a major triad with a major seventh; a dominant seventh chord is a major triad with a minor seventh.
  • 当您弹奏带有低音根音以外的音符的和弦时,您正在弹奏和弦转位。
  • When you play a chord with a note other than the root in the bass, you’re playing a chord inversion.
  • 当你为吉他、钢琴或贝斯作曲时,你不必写出所有音符;只需写出所有音符即可。您所要做的就是指定和弦,以及五线谱上有节奏的斜线。
  • When you write for guitar, piano, or bass, you don’t have to write out all the notes; all you have to do is specify the chord, along with rhythmic slashes on the staff.

第10

CHAPTER

10

和弦进行

Chord Progressions

在这一章当中

In This Chapter

  • 了解基于音阶的和弦
  • Understanding scale-based chords
  • 学习和弦主奏规则
  • Learning the rules of chord leading
  • 弄清楚如何结束进展
  • Figuring out how to end a progression
  • 发现最常见的和弦进行
  • Discovering the most common chord progressions
  • 将和弦与旋律相匹配,并将旋律与和弦进行相匹配
  • Fitting chords to a melody—and a melody to a chord progression

第 9 章中,您学习了如何将音符组合在一起以形成和弦。单独的和弦很有趣,但是当您将它们串在一起形成一系列和弦(我们称之为和弦进行)时,它们就会变得非常有用。这些和弦进行为歌曲提供了和声基础,“增强”旋律并推动音乐前进。

In Chapter 9, you learned how to group notes together to form chords. Individual chords alone are interesting, but they become really useful when you string them together to form a succession of chords—what we call a chord progression. These chord progressions provide the harmonic underpinning of a song, “fattening out” the melody and propelling the music forward.

当然,要创建听起来自然的和弦进行,您不能随意地将一堆和弦串在一起。某些和弦自然会引出其他和弦;某些和弦在歌曲中执行不同的功能。你必须正确使用和弦,并以正确的顺序排列它们,才能创作出听起来既自然又合乎逻辑的音乐。

Of course, to create a chord progression that sounds natural, you can’t just string a bunch of chords together willy-nilly. Certain chords naturally lead to other chords; certain chords perform distinct functions within a song. You have to use your chords properly, and arrange them in the right order, to create a piece of music that sounds both natural and logical.

和弦进行也不必很复杂。最简单的进行只包括两个或三个和弦,这对于任何初学者吉他手来说都很容易演奏。毕竟,您知道有多少歌曲只使用 G、C 和 D 和弦?(我打赌很多。)这三个和弦构成了最常见的和弦进行之一 - 这应该向您展示这一切是多么容易。

Chord progressions don’t have to be complex, either. The simplest progressions include just two or three chords—which are easy enough for any beginning guitarist to play. How many songs, after all, do you know that use only the G, C, and D chords? (A lot, I bet.) Those three chords comprise one of the most common chord progressions—which should show you how easy all this is.

音阶中每个音符的和弦

Chords for Each Note in the Scale

为了更好地理解和弦进行背后的理论,您需要了解可以根据大调或音阶的七个音符中的任何一个创建三音符和弦。您从音阶的音符(一到七)开始作为和弦的根音;然后从那里开始三分之一——仅使用音阶中的音符。

To better understand the theory behind chord progressions, you need to understand that you can create a three-note chord based on any of the seven notes of a major key or scale. You start with the note of the scale (one through seven) as the root of the chord; then build up from there in thirds—using only the notes within the scale.

我们以 C 键为例,因为它仅由钢琴上的白键组成。当您弹奏基于 C(音阶主音)的三和弦时,您会弹奏 CEG——C 大调和弦。现在向上移动键盘上的一个白键,然后弹奏下一个三和弦 - DFA 或 D 小调。向上移动另一个键,然后演奏 EGB,即 E 小调和弦。再向上移动一个琴键,即可演奏 FAC—F 大调。继续提高音阶,您可以演奏 G 大调、A 小调和 B 减调。然后你回到C,准备重新开始。

Let’s use the key of C as an example, because it’s made up of only the white keys on a piano. When you play a triad based on C (the tonic of the scale), you play C E G—a C Major chord. Now move up one white key on the keyboard, and play the next triad—D F A, or D minor. Move up another key, and you play E G B, the E minor chord. Move up yet another key, and you play F A C—F Major. Keep moving up the scale and you play G Major, A minor, and B diminished. Then you’re back on C, and ready to start all over again.

这种基于音阶音符的和弦构建类型很重要,因为我们使用音阶中的位置来描述和弦进行中的各个和弦。特别是,我们使用罗马数字(I 到 VII)来描述每个和弦在基本音阶中的位置。大写罗马数字用于大和弦;小写罗马数字用于小和弦。要表示减和弦,请使用小写罗马数字加一个小圆圈(度数符号:°)。要表示增和弦,请使用大写罗马数字加一个小加号。

This type of chord building based on the notes of a scale is important, because we use the position within a scale to describe the individual chords in our chord progressions. In particular, we use Roman numerals (I through VII) to describe where each chord falls in the underlying scale. Uppercase Roman numerals are used for major chords; lowercase Roman numerals are used for minor chords. To indicate a diminished chord, you use the lowercase Roman numeral plus a small circle (a degree sign: °). To indicate an augmented chord, use the uppercase Roman numeral plus a small plus sign.

因此,在大调音阶中,七个和弦的记法如下:

Thus, within a major scale, the seven chords are notated as follows:

   I ii iii IV V vi vii°

   I        ii        iii        IV        V        vi        vii°

如果你还记得第二章,音阶的每个度都有一个特定的名称——主音、属音等。我们可以将这些名称分配给不同的和弦,如下所示:

If you remember back to Chapter 2, each degree of the scale has a particular name—tonic, dominant, and so on. We can assign these names to the different chords, like this:

I

二、

ii

三、

iii

四号

IV

V

V

vi

七°

vii°

补品

Tonic

超级补剂

Supertonic

中音

Mediant

下属

Subdominant

主导的

Dominant

下中音

Submediant

主导音

Leading Tone

在这些和弦中,主和弦(最重要的和弦)是 I、IV 和 V。这些和弦也是大调音阶中唯一的大和弦,并且通常是歌曲中使用的唯一和弦。

Of these chords, the primary chords—the ones with the most weight—are the I, IV, and V. These also are the only major chords in the major scale—and often the only chords used within a song.

在描述和弦进行时,我们将通过罗马数字或理论名称(主音、属音等)来指代和弦。您可以根据指定的调号确定要演奏的特定和弦(C 大调、D 小调等)。

When describing chord progressions, we’ll refer to chords by either their Roman numerals or their theoretical names (tonic, dominant, and so forth). You can figure out which specific chords (C Major, D minor, and so forth) to play, based on the designated key signature.

为了让事情变得更简单,您可以参考下表,其中列出了每个大调签名的七个基于音阶的和弦。

To make things easier, you can refer to the following table, which lists the seven scale-based chords for each major key signature.

基于音阶的和弦

Scale-Based Chords

调号

Key Signature

和弦

Chords

C
C#
D♭
D
E♭
F
F#
G♭
G
A♭
A
B♭
C♭

创造一个进步

Creating a Progression

让我们看看如何使用这些罗马数字来创建和弦进行。我们暂时不关注底层的调和理论;我们将只专注于创建进程的机制。

Let’s see how you can use these Roman numerals to create a chord progression. For the time being we won’t pay attention to the underlying harmonic theory; we’ll just concentrate on the mechanics of creating a progression.

我之前提到过 G、C 和 D 和弦的流行。在 G 大调中,这些和弦恰好落在音阶的第一 (G)、第四 (C) 和第五音符上。这使得这些和弦成为 I、IV 和 V 和弦,或者更专业地说,主和弦、次属和弦和属和弦。

I mentioned earlier the popularity of the G, C, and D chords. In the key of G Major, these chords happen to fall on the first (G), fourth (C), and fifth notes of the scale. This makes these the I, IV, and V chords—or, more technically, the tonic, subdominant, and dominant.

如果您曾经演奏过任何摇滚、乡村或民谣,您就会知道最常见的和弦进行之一是这样的:

If you’ve ever played any rock, country, or folk songs, you know that one of the more common chord progressions goes like this:

G / / / C / / / G / / / D / / /

G / / /         C / / /         G / / /         D / / /

(当然,进程会重复,或者以最后的 G 和弦结束。)

(Naturally, the progression repeats—or ends with a final G chord.)

笔记

NOTE

这些示例使用斜杠表示法,其中每个斜杠 (/) 等于一个节拍。度量值由空格分隔。

These examples use slash notation, where each slash (/) equals one beat. Measures are separated by spaces.

因为您知道 G = I、C = IV 和 D = V,所以很容易算出罗马数字表示法。它看起来像这样:

Because you know that the G = I, C = IV, and D = V, it’s easy to figure out the Roman numeral notation. It looks like this:

我四我五

I         IV         I         V

在那里——你刚刚写下了你的第一个和弦进行!

There—you’ve just written your first chord progression!

使用这种记谱法的好处是您可以将和弦进行应用到其他键上。假设您想以 C 调演奏此 I-IV-IV 进行。请回顾本章前面的基于音阶的和弦表,您可以将进行转换为这些特定和弦:

The benefit of using this type of notation is you can apply the chord progression to other keys. Let’s say you want to play this I-IV-I-V progression in the key of C. Referring back to the Scale-Based Chords table earlier in this chapter, you can translate the progression to these specific chords:

C///F///C///G///

C / / /      F / / /      C / / /      G / / /

这肯定会让事情变得更简单。

This definitely makes things simpler.

一切都是为了回家

It’s All About Getting Home

大多数主要和弦进行的目标是回到主和弦——主和弦,或 I。进行中的所有其他和弦都作为路线图的一部分存在,以将您带回 I 和弦。该路线可以很简单(只有一个或两个和弦),也可以很复杂(很多很多不同的和弦),但最终你想回到 I。

The goal of most major chord progressions is to get back to the home chord—the tonic chord, or I. All the other chords in the progression exist as part of a roadmap to deliver you back to the I chord. The route can be simple (just a chord or two) or complex (lots and lots of different chords), but ultimately you want to end up back on I.

正如您将在下一节中了解到的那样,某些和弦自然会导致 I 和弦。此外,你可以使用多和弦进行来让你回到 I——这些称为节奏,本章稍后也会讨论。

As you’ll learn in the next section, certain chords naturally lead to the I chord. In addition, you can employ multiple-chord progressions to get you back to I—these are called cadences and are also discussed later in this chapter.

一个好的和弦会带来另一个好的和弦

One Good Chord Leads to Another

尽管您可以使用任何听起来不错的和弦组合(甚至是其他调的和弦)来编写歌曲,但在大多数情况下,和弦进行都基于一些简单的规则。这些规则来自一个称为和弦引导的概念,它表示某些和弦自然会引导其他和弦。

Although you can write a song using any combination of chords that sounds good to your ears—even chords from other keys—in most cases chord progressions are based on a few simple rules. These rules come from a concept called chord leading, which says that certain chords naturally lead to other chords.

您可以通过在钢琴上弹奏一些和弦来听到自己的和弦主奏。为了简单起见,我们将保留 C 调,这样您就不必弹奏任何黑键。

You can hear chord leading for yourself by playing some chords on the piano. To keep it simple, we’ll stay in the key of C—so you don’t have to play any of the black keys.

首先弹奏 C 大调和弦 (CEG)。这是 I 和弦,它不一定会引导到任何地方,因为根据和弦引导规则,I 和弦后面可以跟音阶中的任何和弦。

Start by playing a C Major chord (C-E-G). This is the I chord, which doesn’t necessarily lead anywhere because, based on chord-leading rules, the I chord can be followed by any chord in the scale.

现在弹奏 G 大调和弦 (GBD)。这是音阶中的 V 和弦,它肯定想要去某个地方。但是哪里?您可以用 F 大调和弦 (FAC) 来跟随它,但这并不完全令人满意。D 小调 (DFA) 或 E 小调 (EGB) 甚至 A 小调 (ACE) 都不是。唯一听起来完全令人满意的和弦(V 自然引出的和弦)是 I 和弦,C 大调。

Now play a G Major chord (G-B-D). This is the V chord in the scale, and it definitely wants to go somewhere. But where? You could follow it with an F Major chord (F-A-C), but that isn’t fully satisfying. Neither is D minor (D-F-A) or E minor (E-G-B) or even A minor (A-C-E). The only chord that sounds fully satisfying—the chord that V naturally leads to—is the I chord, C Major.

这里的规则是 V 和弦自然地引回到 I 和弦。虽然您可以在 V 之后写另一个和弦,但最好的解决方案是在 V 后面加上 I。

The rule here is that the V chord naturally leads back to the I chord. Although you can write another chord after a V, the best resolution is to follow the V with the I.

其他和弦也有它们自然产生的相关和弦。有些和弦甚至可以产生多个和弦。要了解哪些和弦引向何处,请查看下表。

Other chords also have related chords that they naturally lead to. Some chords can even lead to more than one chord. To learn which chords lead where, take a look at the following table.

和弦主参考

Chord Leading Reference

这些和弦...

These Chords …

导致这些和弦......

Lead to These Chords …

I

任意和弦

Any chord

二、

ii

IV、V、vii°

IV, V, vii°

三、

iii

二、四、六

ii, IV, vi

四号

IV

I、iii、V、vii°

I, iii, V, vii°

V

V

I

vi

二、四、五、一

ii, IV, V, I

七°

vii°

一、三

I, iii

尽管这些规则也有例外,但您可以按照此图表建议的顺序创建令人愉悦的和弦进行。这意味着如果您有 iii 和弦,则您可以在其后面添加 ii、IV 或 vi 和弦。或者,如果您有 vi 和弦,则可以在其后面加上 ii、IV、V 或 I 和弦,依此类推。

Although there are exceptions to these rules, you can create a pleasing chord progression by following the order suggested by this chart. This means if you have a iii chord, you follow it with either a ii, IV, or a vi chord. Or if you have a vi chord, you follow it with either a ii, IV, V, or I chord, and so on.

让我们将其中一些组合放在一起。当然,我们将从 I 和弦开始。因为 I 会引向任何和弦,所以让我们上升一个音阶音符并在 I 之后插入 ii 和弦。根据我们的图表,ii 可以引向 IV、V 或 vii°。我们将选择 V。然后,因为 V 总是导致 I,所以下一个和弦是返回到主音。

Let’s put together some of these combinations. We’ll start, of course, with the I chord. Because I leads to any chord, let’s go up one scale note and insert the ii chord after the I. According to our chart, ii can lead to either IV, V, or vii°. We’ll pick V. Then, because V always leads to I, the next chord is a return to the tonic.

整个过程是这样的:

The entire progression looks like this:

ⅨⅨ

I         ii         V         I

当您以 C 调演奏此进行时,您会得到以下和弦:

When you play this progression in the key of C, you get the following chords:

C // / Dm // / G // / C // /

C / / /      Dm / / /      G / / /      C / / /

听起来不错,不是吗?

Sounds good, doesn’t it?

让我们尝试另一个例子。同样,我们将从主音开始,但这次我们将使用 vi 和弦作为第二和弦。根据图表,vi 可以导致 ii、IV、V 或 I;我们选择IV。然后,因为 IV 可以引向 I、iii、V 或 vii°,所以我们将选择 V 作为下一个和弦,这将引导我们回到 I 作为最终和弦。

Let’s try another example. Again, we’ll start with the tonic, but this time we’ll use the vi chord as the second chord. According to the chart, vi can lead to either ii, IV, V, or I; let’s pick IV. Then, because IV can lead to either I, iii, V, or vii°, we’ll pick V as the next chord—which leads us back to I as our final chord.

整个过程是这样的:

The entire progression looks like this:

六 六 六 六

I         vi         IV         V         I

当您以 C 调演奏此进行时,您会得到以下和弦:

When you play this progression in the key of C, you get the following chords:

C / / / Am / / / F / / / G / / / C / / /

C / / /      Am / / /      F / / /      G / / /      C / / /

你应该认识到,这种进展是 20 世纪 50 年代和 1960 年代驱动数千首 doo-wop 曲调的和弦。

You should recognize that progression as the chords that drove thousands of doo-wop tunes in the 1950s and 1960s.

让我们回到那个进行,并为第三和弦做出替代选择 - ii 而不是 IV。因为 ii 也导致 V,所以我们可以保留其余的级数不变,这将创建以下替代级数:

Let’s return to that progression, and make an alternate choice for the third chord—ii instead of IV. Because ii also leads to V, we can leave the rest of the progression intact, which creates the following alternate progression:

ⅤⅨⅤⅤ

I         vi         ii         V         I

当以 C 调演奏时,会产生以下和弦:

This, when played in the key of C, results in these chords:

C // / Am // / Dm // / G // / C // /

C / / /      Am / / /      Dm / / /      G / / /      C / / /

提示

TIP

当您演奏和弦进行时,分配给每个和弦的节拍数或小节数并不是一成不变的。例如,您可以为每个和弦使用一个小节来演奏 I-IV-V 进行。或者,您可以演奏 I 的两个小节,IV 和 V 各演奏一个小节。或者您可以演奏 IV 和 V 的三个小节,每个节拍一个,然后每个节拍两个。这一切都取决于歌曲的需要,并有助于提供几乎无限种可能的和弦组合。

When you’re playing a chord progression, the number of beats or measures allotted to each chord isn’t set in stone. For example, you could play the I-IV-V progression with a single measure for each chord. Or you could play two measures of I, and a measure each of IV and V. Or you could play three measures of one and then two beats each of IV and V. It all depends on the needs of the song—and helps provide an almost infinite variety of possible chord combinations.

您也可以从您想要结束的地方(最后的和弦)开始向后练习。因为在大多数情况下,您希望最后一个和弦成为主音 (I),所以您所要做的就是完成导致该和弦的选项。查阅和弦主参考表,您会发现四个和弦可以引向 I:IV、V、vi 和 vii°。显而易见的选择是 V 和弦,所以我们将使用它。现在我们必须选择一个和弦来引导V;选项有 ii、IV、vi 和 I。我们选择 ii。现在我们选择一个通向 ii 的和弦;选项是 I、iii 和 vi。我们选iii。现在我们选择一个通向 iii 的和弦;选项是 I、IV 和 vii°。让我们选择 I,这也是一个很好的和弦来开始我们的乐句。当你把所有这些和弦放在一起时,你会得到以下进行:

You can also work backward from where you want to end up—your final chord. Because in most cases you want the final chord to be the tonic (I), all you have to do is work through the options that lead to that chord. Consulting the Chord Leading Reference table, you find that four chords can lead to the I: IV, V, vi, and vii°. The obvious choice is the V chord, so that’s what we’ll use. Now we have to pick a chord to lead to V; the choices are ii, IV, vi, and I. Let’s pick ii. Now we pick a chord that leads to the ii; the choices are I, iii, and vi. Let’s pick iii. Now we pick a chord that leads to the iii; the choices are I, IV, and vii°. Let’s pick I, which is also a good chord with which to start our phrase. When you put all these chords together, you get the following progression:

I iii ii V I

I      iii      ii      V      I

以 C 调演奏此进行,并使用以下和弦:

Play this progression in the key of C, and you use these chords:

C // / Em // / Dm // / G // / C // /

C / / /      Em / / /      Dm / / /      G / / /      C / / /

很容易,不是吗?

Pretty easy, isn’t it?

结束一个短语

Ending a Phrase

当您到达音乐短语的结尾时(可以在歌曲中的任何位置,甚至在旋律的中间),您可以使用和弦来建立紧张感,然后缓解这种紧张感。这种自然结束的感觉称为节奏,您可以使用一些公认的和弦进行来提供这种完成感。

When you come to the end of a musical phrase—which can be anywhere in your song, even in the middle of your melody—you use chords to set up a tension, and then relieve that tension. This feeling of a natural ending is called cadence, and there are some accepted chord progressions you can use to provide this feeling of completion.

完美节奏

Perfect Cadence

最常见的乐句结尾和弦进行使用 V(属)和弦来设置张力,当您转到 I(主音)和弦时,张力会得到缓解。这种进展称为完美节奏,记为 VI。在 C 调中,它看起来像这样:

The most common phrase-ending chord progression uses the V (dominant) chord to set up the tension, which is relieved when you move on to the I (tonic) chord. This progression, called a perfect cadence, is notated V-I. In the key of C, it looks like this:

GC / / /

G / / /      C / / /

您可能会从本章前面名为“和弦主奏参考”的表中显示的和弦主奏中看到这种节奏。没有比通过属和弦 (V) 更好的方式回家了 (I)。

You could probably see this cadence coming, from the chord leading shown in the table named Chord Leading Reference earlier in this chapter. There’s no better way to get back home (I) than through the dominant chord (V).

提示

TIP

VI 进行可以通过使用属七和弦 (V7) 代替直 V 来增强。该进行记为 V7-I。

The V-I progression can be enhanced by using the dominant seventh chord (V7) instead of the straight V. This progression is notated V7-I.

普拉伽节奏

Plagal Cadence

稍弱的结尾进行使用 IV(次属)和弦代替 V 和弦。这种 IV-I 进程称为plagal 节奏;在C调中,它看起来像这样:

A slightly weaker ending progression uses the IV (subdominant) chord in place of the V chord. This IV-I progression is called a plagal cadence; in the key of C, it looks like this:

F / / / C / / /

F / / /      C / / /

尽管这是一种有效的节奏,但它远不如完美的 VI 节奏那么强烈。因此,您可能想在歌曲或旋律的中间使用 plagal 节奏,并为大结局保留更强的完美节奏。

Although this is an effective cadence, it isn’t nearly as strong as the perfect V-I cadence. For that reason, you might want to use a plagal cadence in the middle of your song or melody, and save the stronger perfect cadence for the big ending.

不完美的节奏

Imperfect Cadence

有时,尤其是在旋律的中间,您可能希望以非主音的和弦结束。在这些情况下,你会造成一种未解决的紧张局势,通常以 V(主导)三合会结束。

Sometimes, especially in the middle of a melody, you might want to end on a chord that isn’t the tonic. In these instances, you’re setting up an unresolved tension, typically by ending on the V (dominant) triad.

这种类型的结尾进行称为不完美节奏,您可以通过多种方式进入 V 和弦 - IV、ii-V、IV-V 和 vi-V 是最常见的。在 C 调中,这些进行如下所示:

This type of ending progression is called an imperfect cadence, and you can get to the V chord any number of ways—I-V, ii-V, IV-V, and vi-V being the most common. In the key of C, these progressions look like this:

四:

I-V:

C / / /

C / / /

G / / /

G / / /

ii-V:

ii-V:

DM///

Dm / / /

G / / /

G / / /

四至五:

IV-V:

F / / /

F / / /

G / / /

G / / /

六-五:

vi-V:

是 / / /

Am / / /

G / / /

G / / /

节奏中断

Interrupted Cadence

比不完美节奏更不最终的是称为中断节奏的结束进行。在此进行中,您使用 V 和弦来欺骗听众,让他们认为完美的节奏即将到来,但然后转向除主音之外的任何类型的和弦。

Even less final than an imperfect cadence is an ending progression called an interrupted cadence. In this progression, you use a V chord to trick the listener into thinking a perfect cadence is on its way, but then move to any type of chord except the tonic.

V-IV、V-vi、V-ii 和 V-V7 进行都是间断的节奏,并且在 C 调中,如下所示:

V-IV, V-vi, V-ii, and V-V7 progressions all are interrupted cadences—and, in the key of C, look like this:

五至四:

V-IV:

G / / /

G / / /

F / / /

F / / /

V-vi:

V-vi:

G / / /

G / / /

是 / / /

Am / / /

V-ii:

V-ii:

G / / /

G / / /

DM///

Dm / / /

V-V7:

V-V7:

G / / /

G / / /

G7///

G7 / / /

笔记

NOTE

在古典音乐理论中,中断的节奏通常被称为欺骗性节奏

In classical music theory, an interrupted cadence is more often called a deceptive cadence.

常见和弦进行

Common Chord Progressions

鉴于您所学到的有关和弦主奏和节奏的所有知识,您应该能够创建自己的音乐上听起来不错的和弦进行。但是,为了防止您遇到困难,让我们看一下当今音乐中最流行的一些和弦进行。

Given everything you’ve learned about chord leading and cadences, you should be able to create your own musically sound chord progressions. However, just in case you get stuck, let’s take a look at some of the most popular chord progressions used in music today.

Ⅰ-Ⅳ

I-IV

没有比这更简单的了,只是主音(I)和次属和弦(IV)来回重复,一遍又一遍。这是一个循环的进程,适合那些没有最终解决点的歌曲。

It doesn’t get much simpler than this, just the tonic (I) and the subdominant (IV) chords repeating back and forth, over and over. This is a cyclical progression, good for songs that don’t really have a final resolution point.

在 C 调中,进行过程如下:

In the key of C, the progression looks like this:

C///F///

C / / /      F / / /

四号

I-V

如果您可以在主音和次属音 (IV) 之间循环,为什么不能在主音和属音 (V) 之间循环呢?与第一个进行一样,这个进行的简单性使其在民间音乐和某些形式的流行音乐中非常常见。

If you can cycle between the tonic and the subdominant (IV), why not the tonic and the dominant (V)? Like the first progression, the simplicity of this one makes it quite common in folk and some forms of popular music.

在 C 调中,进行过程如下:

In the key of C, the progression looks like this:

C // / G // /

C / / /      G / / /

与 I-IV 级数不同,由于 VI 关系,这一级数具有更多的终结性。但由于你不断地回到V(然后是I,然后再次V,然后再次I,如此循环),它听起来仍然是非常周期性的。

Unlike the I-IV progression, this one has a bit more finality, thanks to the V-I relationship. But since you keep going back to the V (and then the I, and then the V again, and then the I again, and on and on), it still is very cyclical sounding.

一-四-五

I-IV-V

没有比旧的 I-IV-V 进程更受欢迎的了。这是您在吉他上弹奏 G、C 和 D 和弦时所演奏的进行(G 调)。

You can’t get any more popular than the old I-IV-V progression. This is the progression (in the key of G) you’re playing when you strum the chords G, C, and D on your guitar.

I-IV-V 进程有许多不同的变化。您可以省略 IV,在 IV 和 V 之间插入一个额外的 I,甚至可以在最后添加另一个 IV 以完美的节奏结束一切。您还可以改变每个和弦的节拍数和小节数。

There are many different variations on the I-IV-V progression. You can leave out the IV, insert an extra I between the IV and the V, and even tack on another I-V at the end to wrap things up with a perfect cadence. You also can vary the number of beats and measures you devote to each chord.

四小节乐句中 I-IV-V 的一个示例可能如下所示,采用 C 调:

One example of I-IV-V in a four-measure phrase might look like this, in the key of C:

C///C///F///G///

C / / /      C / / /      F / / /      G / / /

您还可以将 IV 和 V 集中到一个小节中,如下所示:

You could also bunch up the IV and the V into a single measure, like this:

C // / C // / C // / F / G /

C / / /      C / / /      C / / /      F / G /

进行也可以用于较长的乐句,如这个八小节的例子:

The progression also could be used over longer phrases, as in this eight-measure example:

C // / C // / C // / C // /

C / / /      C / / /      C / / /      C / / /

F///F///G///G///

F / / /      F / / /      G / / /      G / / /

提示

TIP

此进行通常使用第五和弦 (V7) 上的属七和弦来演奏,这会在您返回主音之前增加张力。

This progression is often played with a dominant seventh chord on the fifth (V7), which provides increased tension before you return to the tonic.

关键是,这三个和弦被用于大量现代歌曲中,并构成了许多人所说的“三和弦摇滚”的核心。当然,它们不仅限于摇滚乐;还有音乐。许多民谣、乡村、爵士、说唱,甚至古典和表演曲调都是基于这三个和弦。

The point is, these three chords are used in a huge number of modern songs—and make up the core of what many refer to as “three-chord rock and roll.” They’re not limited to rock, of course; many folk, country, jazz, rap, and even classical and show tunes are based on these three chords.

这是一个极其多才多艺的进展。

It’s an extremely versatile progression.

一-四-五-四

I-IV-V-IV

此进展是 I-IV-V 的变体。这种变化以回到次属音 (IV) 的形式出现,然后当它重复回到主音时形成 plagal 节奏。在 C 调中,进行过程如下:

This progression is a variation on I-IV-V. The variation comes in the form of a shift back to the subdominant (IV), which then forms a plagal cadence when it repeats back to the tonic. In the key of C, the progression looks like this:

C///F///G///F///

C / / /      F / / /      G / / /      F / / /

这是一个很好的、滚动的进行——不太沉重——没有强烈的结尾感——这使得它非常适合一次又一次重复主旋律线的曲子。

It’s a nice, rolling progression—not too heavy—without a strong ending feeling to it—which makes it nice for tunes that repeat the main melody line again and again.

IV-vi-IV

I-V-vi-IV

这个进程是另一个滚动进程,适合一次又一次地重复。(这是因为结尾的 plagal 节奏——IV 重复回到 I。)

This progression is another rolling one, good for repeating again and again. (That’s because of the ending plagal cadence—the IV repeating back to I.)

在 C 调中,它看起来像这样:

In the key of C, it looks like this:

C // / G // / Am // / F // /

C / / /      G / / /      Am / / /      F / / /

I-ii-IV-V

I-ii-IV-V

这个进行有一个持续向上的运动,以完美的节奏重复回到 I。在 C 调中,它看起来像这样:

This progression has a constant upward movement, resolved with a perfect cadence on the repeat back to I. In the key of C, it looks like this:

C///Dm///F///G///

C / / /      Dm / / /      F / / /      G / / /

Ⅰ-Ⅱ-Ⅳ

I-ii-IV

这是前一个进行的变体,最后有一个柔和的 plagal 节奏(IV 直接到 I,不涉及 V)。在 C 调中,它看起来像这样:

This is a variation on the previous progression, with a soft plagal cadence at the end (the IV going directly to the I, no V involved). In the key of C, it looks like this:

C///Dm///F///

C / / /      Dm / / /      F / / /

与所有以 plagal 节奏 (IV-I) 结尾的进行一样,这个进行有一种滚动的感觉,听起来好像它可以继续下去,就像一个巨大的圆圈。

As with all progressions that end with a plagal cadence (IV-I), this progression has a rolling feel, and sounds as if it could go on and on and on, like a giant circle.

Ⅰ-vi-ii-V

I-vi-ii-V

这是 20 世纪 50 年代非常流行的进行曲,是许多 doo-wop 和爵士乐歌曲的基础。它也是歌曲“I've Got Rhythm”背后的和弦进行,有时被称为(特别是在爵士乐界)“I've Got Rhythm”进行。

This was a very popular progression in the 1950s, the basis of a lot of doo-wop and jazz songs. It’s also the chord progression behind the song “I’ve Got Rhythm,” and sometimes is referred to (especially in jazz circles) as the “I’ve Got Rhythm” progression.

在 C 调中,它看起来像这样:

In the key of C, it looks like this:

C // / Am // / Dm // / G // /

C / / /      Am / / /      Dm / / /      G / / /

I-vi-IV-V

I-vi-IV-V

这是“I’ve Got Rhythm”进行的变体,带有更强的 V 和弦引导(IV 而不是 ii)。看起来像这样,用 C 调:

This is a variation on the “I’ve Got Rhythm” progression, with a stronger lead to the V chord (IV instead of ii). It looks like this, in the key of C:

C // / Am // / F // / G // /

C / / /      Am / / /      F / / /      G / / /

这种进展在 doo-wop 时代和摇滚乐早期也很流行。这一进程的决定性因素是下降的低音线。它以三度下降,直到为主和弦向上移动一个音阶,如下所示:CAFG。您已经听过这个进行曲(以及下降的低音线)数百次了;这是一个非常有用的进展。

This progression was also popular in the doo-wop era and in the early days of rock and roll. The defining factor of this progression is the descending bass line; it drops in thirds until it moves up a step for the dominant chord, like this: C-A-F-G. You’ve heard this progression (and that descending bass line) hundreds of times; it’s a very serviceable progression.

I-vi-ii-V7-ii

I-vi-ii-V7-ii

这是“I’ve Got Rhythm”进行的另一个变体,在最后的 V 和返回到 I 之间有一个额外的 ii 和弦,并且 V 和弦作为属七和弦演奏。在 C 调中,它看起来像这样:

This is another variation on the “I’ve Got Rhythm” progression, with an extra ii chord squeezed in between the final V and the return to I, and with the V chord played as a dominant seventh. In the key of C, it looks like this:

C // / Am // / Dm // / G7 / Dm /

C / / /      Am / / /      Dm / / /      G7 / Dm /

通过在 V7 和 I 之间添加 ii 和弦,几乎是顺便,它消除了完美节奏的边缘,并使进展更加平滑。

By adding the ii chord between the V7 and the I, almost in passing, it takes the edge off the perfect cadence and makes the progression a little smoother.

四-一-四-五

IV-I-IV-V

正如这个进行所示,您不必从主音开始和弦进行。在 C 调中,它看起来像这样:

As this progression shows, you don’t have to start your chord progression on the tonic. In the key of C, it looks like this:

F / / / C / / / F / / / G / / /

F / / /      C / / /      F / / /      G / / /

这个进展有一点滚动的性质,但也有一点悬而未决的性质。您可以继续重复此进行(从 V 回到 IV),或通过将进行引至 I 和弦来结束歌曲。

This progression has a bit of a rolling nature to it, but also a bit of an unresolved nature. You can keep repeating this progression (leading from the V back to the IV), or end the song by leading the progression home to a I chord.

笔记

NOTE

在许多爵士乐曲中,IV-I-IV-V 进行也经常在乐句结尾处演奏。以这种方式使用,就称为周转。(请参阅第 16 章了解更多信息。)

The IV-I-IV-V progression is also frequently played at the end of a phrase in many jazz tunes. Used in this manner, it’s called a turnaround. (See Chapter 16 to learn more.)

ii-VI

ii-V-I

这种进行在爵士乐中非常流行,通常自始至终都以七和弦演奏。所以你实际上可能会弹奏 ii7-V7-I 进行曲,如下所示(C 调):

This progression is quite popular in jazz, often played with seventh chords throughout. So you might actually play a ii7-V7-I progression, like this (in the key of C):

Dm7///G7///CM7///

Dm7 / / /      G7 / / /      CM7 / / /

有时,爵士乐曲调会以各种调进行循环,通常使用五度循环来通过调进行调制。(这是您在更改歌曲中的调时使用的术语。)

Sometimes jazz tunes cycle through this progression in a variety of keys, often using the circle of fifths to modulate through the keys. (That’s the term you use any time you change the key within a song.)

五度圈进阶

Circle of Fifths Progression

还有一种相当常见的和弦进行,它基于您在第 4 章中学到的五度圈。简而言之,这是一个进行,其中每个和弦比下一个和弦高五度;每个和弦充当后续和弦的属和弦。进行循环自行循环,总是回到主和弦,如下所示:I-IV-vii°-iii-vi-ii-VI。

There’s one more chord progression that’s fairly common, and it’s based on the circle of fifths you learned about back in Chapter 4. Put simply, it’s a progression where each chord is a fifth above the next chord; each chord functions as the dominant chord for the succeeding chord. The progression circles back around on itself, always coming back to the tonic chord, like this: I-IV-vii°-iii-vi-ii-V-I.

以下是 C 调的进行:

Here’s what the progression looks like in the key of C:

C / / / F / / / Bdim / / / Em / / / Am / / / D / / / G / / / C / / /

C / / /      F / / /      Bdim / / /      Em / / /      Am / / /      D / / /      G / / /      C / / /

您也可以向后播放此进行,创建一个四度循环,但这并不像此处详细介绍的那样常见。

You can also play this progression backward, creating a circle of fourths, but that isn’t nearly as common as the one detailed here.

五度半音圈

Chromatic Circle of Fifths

我们刚刚讨论的五度循环进行是一个简单的循环,您可以使用而无需进入非音阶和弦。但还有另一种更长的、基于半音和弦的五度循环进行,您可能想尝试一下。

The circle of fifths progression we just discussed is a simple one you can use without getting into nonscale chords. But there’s also another, longer, circle of fifths progression, based on chromatic chords, that you might want to play around with.

这个进行有点太复杂,无法用罗马数字符号写出来,但它的工作原理是让每个和弦充当下一个和弦的精确次属音,也就是说,和弦围绕半音阶以纯五度移动。更有趣的是,每个和弦都变成属七和弦,使属七和弦关系更加明确。

This progression is a little too complex to write out in Roman numeral notation, but it works by having each chord function as the precise subdominant of the next chord—that is, the chords move in perfect fifths around the chromatic scale. Even more fun, each chord is turned into a dominant seventh chord, to make the dominant-tonic relationship more explicit.

其外观如下,以 C 调表示:

Here’s how it looks, in the key of C:

C / / /

C / / /

C7///

C7 / / /

F / / /

F / / /

F7 / / /

F7 / / /

咩///

Bb / / /

BB7///

Bb7 / / /

埃布///

Eb / / /

EB7///

Eb7 / / /

抗体/ / /

Ab/ / /

Ab7 / / /

Ab7 / / /

D b / / /

Db / / /

db7///

Db7 / / /

国标///

Gb / / /

国标7///

Gb7 / / /

乙///

B / / /

B7///

B7 / / /

乙///

E / / /

E7///

E7 / / /

A / / /

A / / /

A7///

A7 / / /

丁///

D / / /

D7///

D7 / / /

G / / /

G / / /

G7///

G7 / / /

C

C

您可以在周期中的任何时刻跳上或跳下此进程。它的绕圈方式很整洁,不是吗?

You can jump on and off this progression at any point in the cycle. Kind of neat how it circles around, isn’t it?

唱布鲁斯

Singing the Blues

有一种独特的和弦进行与我们通常称为布鲁斯的音乐流派相关。然而,这种布鲁斯形式并不仅仅局限于布鲁斯音乐。您还会发现这种形式也用于许多爵士乐和流行音乐中。

There’s a unique chord progression associated with the genre of music we commonly call the blues. This blues form isn’t relegated solely to blues music, however; you’ll find this form used in many jazz and popular tunes, as well.

布鲁斯进行曲是一个 12 小节的进行曲。(它有时被称为“12 小节布鲁斯”。)这个 12 小节的进行在整个旋律和任何器乐独奏中一次又一次地重复。

The blues progression is a 12-measure progression. (It’s sometimes called a “12-bar blues.”) This 12-measure progression repeats again and again throughout the melody and any instrumental solos.

该形式本质上是 I-IV-I-V7-I 进行,但分布在 12 个小节中,如下所示:

The form is essentially a I-IV-I-V7-I progression, but spread over 12 measures, like this:

我 / / /

I / / /

我 / / /

I / / /

我 / / /

I / / /

我 / / /

I / / /

四 / / /

IV / / /

四 / / /

IV / / /

我 / / /

I / / /

我 / / /

I / / /

V7///

V7 / / /

V7///

V7 / / /

我 / / /

I / / /

我 / / /

I / / /

在 C 调中,布鲁斯进行如下:

In the key of C, the blues progression looks like this:

C / / /

C / / /

C / / /

C / / /

C / / /

C / / /

C / / /

C / / /

F / / /

F / / /

F / / /

F / / /

C / / /

C / / /

C / / /

C / / /

G7///

G7 / / /

G7///

G7 / / /

C / / /

C / / /

C / / /

C / / /

虽然这些是基本的布鲁斯和弦,但您可以使用多种变奏来为个别歌曲增添趣味。(请参阅第 16 章,了解其中的一些变化。)

Although these are the basic blues chords, you can use lots of variations to spice up individual songs. (Turn to Chapter 16 to see some of these variations.)

笔记

NOTE

布鲁斯进行曲有时会在最后小节中使用 V7 和弦来演奏。

The blues progression is sometimes played with a V7 chord in the final measure.

和弦与旋律

Chords and Melodies

尽管和弦构成了一首曲子并提供了它的和声基础,但你仍然需要旋律来创作歌曲。

Although chords fill out a tune and provide its harmonic underpinning, you still need a melody to make a song.

和弦与旋律之间的关系很复杂,有点像谚语中的先有鸡还是先有蛋。你可以从其中之一开始,但最终你必须两者兼得。

The relationship between chords and melody is complex—and works a little like the proverbial chicken and the egg. You can start with one or the other, but in the end you have to have both.

这意味着您可以为给定的和弦进行编写旋律,或者您可以从旋律开始并将其与适当的和弦进行协调。没有固定的起点;是从旋律开始还是从和弦开始完全取决于你。

This means you can write a melody to a given chord progression, or you can start with the melody and harmonize it with the appropriate chords. There’s no set place to start; whether you start with the melody or the chords is entirely up to you.

将和弦与旋律相匹配

Fitting Chords to a Melody

如果你先写出旋律,那么你就必须弄清楚哪些和弦适合哪里。在许多情况下,只需将常见的和弦进行之一应用到您的旋律即可;通常,您会找到最合适的。

If you write your melody first, you then have to figure out which chords fit where. In many cases, it’s a simple matter of applying one of the common chord progressions to your melody; more often than not, you’ll find one that’s a perfect fit.

为了进行演示,让我们看一下我们在第 8 章中首次研究过的一些旋律背后的和弦。

To demonstrate, let’s look at the chords behind some of the melodies we first examined back in Chapter 8.

“迈克尔,把船划到岸上”

“Michael, Row the Boat Ashore”

我们将从“Michael, Row the Boat Ashore”开始,这是一个严重依赖 I、IV 和 V 和弦的进行的一个很好的例子,但有一些曲折。这是这首歌,附有和弦:

We’ll start with “Michael, Row the Boat Ashore,” which is a great example of a progression that relies heavily on the I, IV, and V chords—but with a few twists. Here’s the song, complete with chords:

“迈克尔,划船上岸”的和弦。

The chords to “Michael, Row the Boat Ashore.”

和弦进行中的第一个转折出现在第五个完整小节(第二乐句的开始),它使用 iii 和弦 (F#m) 而不是预期的 I。第二个转折是第六小节,向下移动到ii 和弦 (Em)。从那里开始,旋律以完美的节奏(IVI)结束,正如您所期望的那样。

The first twist in the chord progression comes in the fifth full measure (the start of the second phrase), which uses the iii chord (F#m) instead of the expected I. The second twist is the sixth measure, which moves down to the ii chord (Em). From there the melody ends with a perfect cadence (I-V-I), just as you’d expect.

因此,如果您通过应用标准 I-IV-V 进行来开始寻找该旋律的完美进行,那么您就来对地方了。

So, if you started your hunt for the perfect progression for this melody by applying a standard I-IV-V progression, you’d be in the right neighborhood.

巴赫G 大调小步舞曲

Bach’s Minuet in G

接下来,我们来看看巴赫的G大调小步舞曲。再说一遍,如果您应用标准的 I-IV-V 级数,您就会非常准确,如下所示:

Next, let’s examine Bach’s Minuet in G. Again, if you apply the standard I-IV-V progression, you’ll be pretty much on the mark, as you can see here:

巴赫G 大调小步舞曲的和弦。

The chords to Bach’s Minuet in G.

老约翰能够从非常简单的和弦进行中发挥出最大的作用。在这种情况下,只不过是 I-IV-I-IV-IVI。当然,这表明您不需要复杂的和弦进行来创作美妙的音乐。

Old Johann was able to wring the most out of a very simple chord progression; in this case nothing more than I-IV-I-IV-I-V-I. Of course, this shows that you don’t need a complex chord progression to create great music.

德沃夏克新世界交响曲

Dvořák’s New World Symphony

德沃夏克的《新世界交响曲》使用了另一种相对简单的和弦进行,如下所示:

Dvořák’s New World Symphony uses another relatively simple chord progression, as you can see here:

德沃夏克《新世界交响曲》的和弦。

The chords to Dvořák’s New World Symphony.

和弦进行基本上是 IVI,最后有一个整洁的 ii-VI 不完美到完美的节奏。在第三小节的后半部分还有一个独特的非音阶转折,其中 I 和弦 (D♭) 突然升高五度并增强。(在管弦乐乐谱中,第五度在这个小节中位于低音,以获得非常戏剧性的效果。)增强主音的使用设置了意想不到的张力,而不会因为加入诸如 IV 或 a 之类的东西而弄乱和声结构。 V 和弦不属于它真正所属的地方。

The chord progression is basically I-V-I, with a neat little ii-V-I imperfect-to-perfect cadence at the end. There’s also a unique non-scale twist in the second half of the third measure, where the I chord (D♭) suddenly gets a raised fifth and goes augmented. (In the orchestral score, the fifth is in the bass in this measure, for a very dramatic effect.) The use of the augmented tonic sets up an unexpected tension, without messing up the harmonic structure by throwing in something like a IV or a V chord where it wouldn’t really belong.

帕赫贝尔的D 大调卡农

Pachelbel’s Canon in D

更简单的是帕赫贝尔D 大调卡农背后的和弦进行,如下所示:

Even more simple is the chord progression behind Pachelbel’s Canon in D, as you can see here:

帕赫贝尔D 大调卡农的和弦。

The chords to Pachelbel’s Canon in D.

注意和弦如何流动,一个进入下一个,或多或少基于既定的和弦主导规则——IV-vi-iii-IV-I-IV-V——然后一次又一次地回到I。你可以整晚都玩这个进程也不会厌倦;这就是它如此经典的原因。

Note how the chords flow, one into the next, based more or less on established chord leading rules—I-V-vi-iii-IV-I-IV-V—and then back to the I, again and again. You can play this progression all night long and not get tired of it; that’s what makes it such a classic.

“玛丽有只小羊羔”

“Mary Had a Little Lamb”

最后,让我们找出“玛丽有一只小羊羔”的和弦。正如旋律很简单一样,伴奏的和弦进行也很简单——只不过是 IVI,重复一次。有时最简单的进展是最好的!

Finally, let’s figure out the chords to “Mary Had a Little Lamb.” Just as the melody is a simple one, so is the accompanying chord progression—nothing more than I-V-I, repeated once. Sometimes the simplest progressions are the best!

《玛丽有一只小羊羔》的和弦。

The chords to “Mary Had a Little Lamb.”

和弦写作技巧

Chord Writing Tips

在将和弦进行与现有旋律相匹配时,请记住以下一些提示:

When it comes to fitting a chord progression to an existing melody, here are some tips to keep in mind:

  • 首先尝试一些常见的和弦变化。您会惊讶地发现有多少旋律符合 I-IV-V 进行!
  • Try some common chord changes first. You’d be surprised how many melodies fit with the I-IV-V progression!
  • 旋律中的主音符(通常是小节第一拍和第三拍的音符)是基础和弦的第一、第三或第五音符。
  • The main notes in the melody (typically the notes that fall on the first and third beats of a measure) are the first, third, or fifth note of the underlying chord.
  • 尝试通过剪掉经过的和邻近的音调(通常是较短的音符,或不在主要节拍上的音符)来简化旋律;你留下的主要音符通常会暗示潜在的和弦。
  • Try to simplify the melody by cutting out the passing and neighboring tones (typically the shorter notes, or the notes not on major beats); the main notes you have left often will suggest the underlying chord.
  • 确保您使用的是正确的键。在大多数情况下,旋律中的“主”音符是基础调的主音。
  • Make sure you’re in the right key. In most cases, the “home” note in the melody is the tonic note of the underlying key.

笔记

NOTE

爵士乐音乐家有时将和弦进行称为和弦变化,例如“挖掘那些疯狂的变化,伙计!”

Jazz musicians sometimes refer to chord progressions as chord changes—as in, “Dig those crazy changes, man!”

  • 一般来说,节奏越慢,和弦变化越频繁。(因此,如果您有一个很长的整个音符,或者一个音符包含多个小节,那么您会发现在该单个音符后面演奏了几个不同的和弦。)
  • Generally, the slower the tempo, the more frequent the chord changes. (So if you have a long whole note, or a note held over several measures, expect to find several different chords played behind that single note.)
  • 从旋律乐句的结尾开始倒推,记住旋律几乎总是以 I 和弦结尾。然后,您可以找出导致 I 的节奏,并相当快地解码一半歌曲。
  • Work backward from the end of a melodic phrase, remembering that melodies almost always end on the I chord. You then can figure out the cadence leading to the I, and have half the song decoded fairly quickly.
  • 和弦变化通常适合小节结构,这意味着您可能会在小节的第一拍或第三拍上看到新的和弦。
  • Chord changes typically fit within the measure structure, which means you’re likely to see new chords introduced on either the first or third beat of a measure.

为和弦进行编写旋律

Writing a Melody to a Chord Progression

你不必从旋律开始;您可以根据特定的和弦进行进行曲调并创作最适合和弦的旋律。

You don’t have to start with a melody; you can base your tune on a specific chord progression and compose a melody that best fits the chords.

如果您喜欢这种方式,那么在开始编写旋律之前对和弦进行有一个良好的感觉会很有帮助。在钢琴或吉他上反复弹奏和弦。在很多情况下,你会发现一段旋律在你的脑海中形成;如果你想到了这种自然的旋律,你只需要弄清楚音符并把它们写下来。

If you prefer to work this way, it helps to get a good feel for the chord progression before you start writing the melody. Play the chords again and again on either a piano or guitar. In many cases, you’ll find a melody forming in your head; if this type of natural melody comes to you, you only have to figure out the notes and write them down.

如果没有出现自然的旋律,那么就该推出该理论了。您不想完全机械地工作,但可以使用一些基本方法。看看这些提示:

If no natural melody occurs, it’s time to roll out the theory. You don’t want to work totally mechanically, but there are some basic approaches you can use. Take a look at these tips:

  • 留在和弦的音符内——至少对于旋律中的主音符来说。如果您以特定小节演奏 A 小调和弦,请使用 A、C 和 E 音符来创作您的旋律。
  • Stay within the notes of the chords—at least for the main notes in the melody. If you’re holding an A minor chord in a specific measure, work with the notes A, C, and E for your melody.

流行的 I-IV-V 和弦进行的简单旋律 - 请注意旋律中大量使用和弦音符。用 (p) 表示的音符是传音。

A simple melody for the popular I-IV-V chord progression—note the heavy use of chord notes in the melody. The notes indicated with a (p) are passing tones.

笔记

NOTE

在此示例中,第 3 小节第 4 拍中的 C 从技术上讲是一种预期,而不是过音。实际上,预期是一个“渴望”的音符——下一个和弦的音符,比和弦本身早一点响起。

In this example, the C in measure 3, beat 4 is technically an anticipation, not a passing tone. An anticipation is, in effect, an “eager” note—a note from the next chord that is sounded just a little earlier than the chord itself.

  • 尝试在不同小节的主要音符之间找到逻辑线。例如,如果您的和弦进行为 C-Am-F,请意识到这些和弦有一个共同的音符 - C。因此您可以将您的旋律围绕 C 音符。相反,如果您的和弦进行为 CFG,您可能需要选择三个流畅地一起流动的音符(每个和弦一个),例如 E 到 F 到 G;或 G 到 F 到 D。
  • Try to find a logical line between the main notes in different measures. For example, if your chord progression goes C-Am-F, realize that these chords have one note in common—the C. So you can base your melody around the C note. Conversely, if your chord progression goes C-F-G, you might want to pick three notes (one from each chord) that flow smoothly together—E to F to G, for example; or G to F to D.
  • 使用强调基础和弦质量的音符。例如,当您编写 V7 和弦时,请使用旋律中的根音或七和弦来强调张力。
  • Use notes that emphasize the quality of the underlying chords. For example, when you’re writing to a V7 chord, emphasize the tension by using either the root or the seventh of the chord in the melody.
  • 一旦你选择了主音,就用过渡音来填补空白。
  • Once you pick your main tones, fill in the gaps with passing tones.
  • 想出一个有趣的节奏主题,并在整个旋律中重复该节奏。
  • Come up with an interesting rhythmic motif, and repeat that rhythm throughout the melody.

我希望有一套更完整的规则来为和弦进行添加旋律,但我们正在进入一个更多的是艺术而不是科学的领域。理应如此!磨练技能的最好方法就是不断练习——弹奏大量和弦进行,并练习在和弦上写出不同类型的旋律。(记得阅读我的姊妹书《音乐创作完全白痴指南》,以获得更多建议和指导。)

I wish there were a more complete set of rules for adding a melody to a chord progression, but we’re getting into an area that is more art than science. As it should be! The best way to hone your skill is simply to work at it—play a lot of chord progressions, and practice writing different types of melodies over the chords. (And remember to read my companion book, The Complete Idiot’s Guide to Music Composition, for lots more advice and instruction.)

随着时间的推移,您将找出自己创作旋律的规则,并发展自己的旋律风格。

Over time, you’ll figure out your own rules for writing melodies—and develop your own melodic style.

练习

Exercises

练习10-1

Exercise 10-1

用F调写出下列和弦。

Write the following chords in the key of F.

练习10-2

Exercise 10-2

用D调写出下列和弦。

Write the following chords in the key of D.

练习10-3

Exercise 10-3

用 E♭ 调写出以下和弦。

Write the following chords in the key of E♭.

练习10-4

Exercise 10-4

以 C 调写出以下和弦的引出和弦。

Write the chords that lead from the following chords, in the key of C.

练习10-5

Exercise 10-5

以 A 调创建以下类型的节奏。

Create the following types of cadences in the key of A.

练习10-6

Exercise 10-6

找出以下旋律与哪些和弦相配。(提示:每个小节有两个和弦。)

Figure out which chords go with the following melody. (Hint: there are two chords in every measure.)

练习10-7

Exercise 10-7

为以下八小节和弦进行编写旋律。

Write a melody to the following eight-measure chord progression.

您至少需要知道的

The Least You Need to Know

  • 音阶的每个音符都有一个相关的和弦,用罗马数字表示(大写为大调;小写为小调)。
  • Every note of the scale has an associated chord, notated by a Roman numeral (uppercase for major; lowercase for minor).
  • 和弦进行自然会回到基础音阶的主音或 I 和弦。
  • Chord progressions naturally lead back to the tonic, or I, chord of the underlying scale.
  • 每个和弦都会自然地引向至少一个其他和弦;例如,V 和弦自然会引向 I 和弦。
  • Every chord naturally leads to at least one other chord; for example, the V chord naturally leads to the I.
  • 进行中的最后和弦(最终回到 I 的那些和弦)称为节奏。
  • The final chords in a progression—the ones that ultimately lead back to I—are called a cadence.
  • 最常见的和弦进行包括 I-IV、IV、I-IV-V、I-IV-V-IV、IV-vi-IV、I-ii-IV-V、I-ii-IV、I-vi- ii-V、I-vi-IV-V、I-vi-ii-V7-ii、IV-I-IV-V 和 ii-VI。
  • The most common chord progressions include I-IV, I-V, I-IV-V, I-IV-V-IV, I-V-vi-IV, I-ii-IV-V, I-ii-IV, I-vi-ii-V, I-vi-IV-V, I-vi-ii-V7-ii, IV-I-IV-V, and ii-V-I.

第11

CHAPTER

11

短语和形式

Phrases and Forms

在这一章当中

In This Chapter

  • 理解一首音乐的各个部分
  • Understanding the parts of a piece of music
  • 分析歌曲结构
  • Analyzing song structure
  • 发现主旋律
  • Discovering head tunes

现在您已经了解了旋律和和弦进行的所有内容,是时候从头到尾思考整首音乐了。毕竟,一首音乐不仅仅是演奏一次的八小节旋律(以及伴奏和弦)。大多数作品都会多次重复同一旋律,并且通常包含多个旋律。

Now that you know all about melodies and chord progressions, it’s time to think about the entire piece of music, from start to finish. A piece of music, after all, is more than just an eight-measure melody (and accompanying chords) played once. Most pieces repeat a melody several times, and often contain more than one melody.

当您创作一首歌曲(或一首较长的音乐)时,您必须考虑该作品的整体形式。如果你有一个主旋律,你是否需要重复该旋律——如果需要,在哪里重复,重复多少次?您需要添加第二个对比旋律吗?两个旋律之间有某种缓冲或中断怎么样?你是如何进入主旋律的?最后你如何总结事情?

When you’re constructing a song (or a longer piece of music), you have to consider the overall form of the piece. If you have a main melody, do you need to repeat that melody—and if so, where, and how many times? Do you need to add a second, contrasting melody? What about some sort of buffer or break between the two melodies? And how do you work your way into the main melody? How do you wrap things up at the end?

所有这些问题都与我们所说的歌曲形式有关。歌曲形式是构成歌曲的所有部分的总和,通常按某种逻辑顺序排列。将歌曲形式视为您创作音乐时使用的语法。正如您可以分析句子的片段和部分一样,您也可以分析歌曲的片段和部分,毫不奇怪,您可能想要使用一些常见的部分。

All these questions pertain to what we call song form. Song form is the sum of all the parts that make up your song, usually in some sort of logical order. Think of song form as the grammar you use when writing music. Just as you can analyze the pieces and parts of a sentence, you can also analyze the pieces and parts of a song and, not surprisingly, there are some common parts you probably want to use.

歌曲的部分

Parts of a Song

当您创作流行音乐时,您必须使用音乐作品中公认的部分。并不是说你必须在你写的每首歌曲中使用每个歌曲部分;这些部分更像是构建块,您可以使用(根据您的判断)来构建您自己的个人音乐作品。

When you’re writing popular music, there are accepted parts of a piece of music you have to work with. Not that you have to use each song part in each and every song you write; these parts are more like building blocks you can use (at your discretion) to construct your own individual piece of music.

笔记

NOTE

在流行音乐中,大多数音乐作品通常被称为歌曲。在其他类型的音乐中,例如古典音乐,“歌曲”一词在长度、形式以及乐器和声音的使用方面具有更具体的含义。为了更通用,您可以使用“作曲”一词,或者(不太正式)“片段”或“曲调”一词。然而,由于本书主要讨论流行音乐,因此我们将使用“歌曲”这个词——只要你意识到我们谈论的是任何正式的音乐作品,而不仅仅是四个人用吉他演奏的东西。

In popular music, most any piece of music is typically called a song. In other types of music, such as classical music, the word “song” has more specific connotations regarding length and form and use of instruments and voices. To be more universal, you could use the word composition, or (less formally) the words piece or tune. Since this book, however, deals primarily with popular music, we’ll use the word song—as long as you realize we’re talking about any formal musical composition, not just something played by four guys with guitars.

介绍

Introduction

一首作品的引子通常(但并非总是)某种乐器引入。引子可以是任意长度,甚至不需要存在——一首歌可以从第一节的第一个音符开始。介绍可能包括基于歌曲主旋律的主题,由其中一种乐器演奏,或者可能只是主歌或副歌的和弦进行。无论如何,引子都是用来设置歌曲的第一节,然后很快就被忘记了。

The introduction to a piece is typically (but not always) some sort of instrumental lead-in. The introduction can be of any length and doesn’t even need to exist—a song can start cold on the first note of the first verse. The introduction may include a theme based on the song’s main melody, played by one of the instruments, or maybe just a chord progression from either the verse or the chorus. In any case, the introduction is used to set up the first verse of the song and then is quickly forgotten.

Verse

这首诗是全曲的第一主旋律。这是一个重要的旋律,并且经常在歌曲的整个过程中重复多次。和谐地,旋律可能以主和弦 (I) 结束,也可能以属和弦 (V) 结束,从而产生一种紧张感,当您进入副歌时,这种紧张感就会得到解决。

The verse is the first main melody of the piece. It’s an important melody, and often is repeated several times throughout the course of the song. Harmonically, the melody might end on the tonic chord (I), or it might end on the dominant (V), creating a tension that is resolved when you proceed to the chorus.

如果您的歌曲有歌词,则该诗句的每个实例通常都有一组不同的歌词。第一节的歌词有时会在最后一节重复。在所有情况下,主歌都应该与歌曲的副歌部分相关并引导到副歌部分。

If your song has words, each instance of the verse typically has a different set of lyrics. The lyrics to the first verse are sometimes repeated in the final verse. In all cases, the verse should relate to and lead into the song’s chorus.

合唱

Chorus

副歌部分是歌曲的第二主旋律,也是全曲的情感高潮。它应该包含主旋律主题,以及您可能包含的吸引听众的任何钩子。魅力可以出现在旋律、和弦、节奏或歌词中——一些独特且独特的东西。令人难忘的是这首歌与其他歌曲不同。副歌通常比主歌短,通常只持续四到八小节。

The chorus is the second main melody of the song, and the emotional high point of the piece. It should contain the main melodic theme, as well as any hook you might include to grab the listener. The hook can be in the melody, chords, rhythm, or lyrics—something unique and memorable that sets this song apart from all others. Choruses are often shorter than verses, often lasting just four or eight measures.

Bridge

桥梁是乐曲中间的一个中断。大多数桥梁听起来与主歌和副歌完全不同,并且通常基于不同的和声结构。例如,桥可能基于 IV 和弦而不是 I 和弦。桥梁通常很短,只有大约八节。(这就是为什么桥梁有时被称为歌曲的“中间八个”。)

The bridge is kind of a break in the middle of the piece. Most bridges sound completely different from the verse and chorus and are often based on a different harmonic structure. For example, a bridge might be based around the IV chord instead of the I chord. Bridges typically are short—only about eight measures. (That’s why a bridge is sometimes called the “middle eight” of a song.)

结尾

Ending

结尾不一定是歌曲的单独部分。有时你会在最后一段副歌之后结束歌曲,要么停在 I 和弦上,要么减弱音量。更复杂的歌曲在歌曲结尾处附加了独特的结尾部分,通常使用某种节奏或转折(在第16 章中进行了解释)。您甚至可能希望结尾能够反映歌曲的前奏,或者反映歌曲的旋律或和声性质。

The ending isn’t necessarily a separate section of the song. Sometimes you end the song after the last chorus, either by stopping on the I chord or fading out the volume. More sophisticated songs have unique ending sections tacked on to the end of the song, which typically use some sort of cadence or turnaround (explained in Chapter 16). You might even want the ending to mirror the song’s intro, or otherwise reflect the melodic or harmonic nature of the piece.

把它们放在一起

Putting It All Together

大多数流行音乐和爵士音乐都是基于八小节乐句。你的主歌可能是一个八小节的乐句,而你的副歌则是另一个。我们通过给歌曲的不同部分分配字母来跟踪它们——这些字母不应该与我们用来标记音阶中的音符的字母混淆。(这些字母与单个音符或音高无关。)

Most popular and jazz music is based on eight-measure phrases. Your verse might be one eight-measure phrase and your chorus, another. We keep track of the different parts of a song by assigning them letters—which shouldn’t be confused with the letters we used to label the notes in a scale. (These letters have nothing to do with individual notes or pitches.)

笔记

NOTE

八小节乐句规则并不严格,尽管可被 8 整除的概念有些严格遵循。因此,除了标准的 8 小节乐句之外,您还可以有 16 小节和 32 小节的乐句,它们都可以被 8 整除。(尽管如果乐句长度达到 32 小节,那么它可能更像是一个节,而不是一个乐句)。短语。)

The eight-measure phrase rule isn’t hard and fast, although the concept of being divisible by 8 is somewhat rigidly followed. So in addition to the standard 8-measure phrases, you can have 16- and 32-bar phrases, both of which are divisible by 8. (Although if a phrase gets to be 32 bars long, it’s probably more of a section than a phrase.)

歌曲中的第一个八小节乐句(通常是第一节)标记为“A”。如果这节诗在歌曲中的任何地方重复,它会保留其“A”标签。第二个八小节乐句(通常是副歌)标记为“B”。如果副歌部分在歌曲中稍后重复,则重复的副歌部分仍标记为“B”。第三个八小节乐句——桥梁,如果有的话——标记为“C”。其他短语建立在这个字母方案的基础上。

The very first eight-measure phrase in your song—which is typically the first verse—is labeled “A.” If the verse is repeated anywhere in the song, it retains its “A” labeling. The second eight-measure phrase—typically the chorus—is labeled “B.” If the chorus repeats later in the song, the repeated chorus is still labeled “B.” The third eight-measure phrase—the bridge, if you have one—is labeled “C.” Additional phrases build on this lettering scheme.

让我们看一首包含主歌、副歌、主歌和副歌的歌曲。这首歌的形式大概是这样的:

Let’s look at a song that has a verse, a chorus, a verse, and another chorus. The form of this song would look like this:

甲乙乙

A            B            A            B

请注意,当这节经文重复时,我们不会给它一个新的字母;而是给它一个新的字母。即使歌词发生变化,它仍保留“A”名称。副歌也是一样:B 部分始终是 B,无论重复多少次。

Note that when the verse repeats, we don’t give it a new letter; it keeps the “A” designation—even if the lyrics change. Same thing with the chorus: the B section is always B, no matter how many times it repeats.

现在让我们看一首有两节主歌、副歌部分和最后一节的歌曲。这首歌的形式是这样的:

Now let’s look at a song that has two verses, a chorus, and a final verse. The form of this song looks like this:

甲乙乙

A            A            B            A

当你在混合中添加一个桥梁时,事情会变得更加有趣。考虑一首有两节歌词、一段副歌、一段桥段和最后一段副歌的歌曲:

Things get more interesting when you add a bridge to the mix. Consider a song with two verses, a chorus, a bridge, and a final chorus:

甲乙乙乙

A            A            B            C            B

一旦您知道字母代表什么,那么理解起来并不难。

It’s not really that hard to follow, once you know what letters stand for what.

顺便说一句,有些歌曲都是 A。这在民间音乐中相当常见,其中一个旋律短语一遍又一遍地重复,每次都有一组不同的歌词。想想“如果我有一把锤子”或“所有的花都去哪儿了?” 作为很好的例子。这两首歌本身都没有副歌部分。它们都是诗句,而且很多。

Incidentally, some songs are all A. This is fairly common in folk music, where you have one melodic phrase repeated over and over, each time with a different set of lyrics. Think of “If I Had a Hammer,” or “Where Have All the Flowers Gone?” as good examples. Neither song has a chorus, per se; they’re all verses, and lots of them.

提示

TIP

当您有像这样的单个部分的变体时,您可以在字母后用数字标记该部分的每个实例,如 A1、A2、A3 等。

When you have variations of a single section like this, you can label each instance of the section by a number after the letter, as in A1, A2, A3, and so on.

锻炼

Exercise

练习11-1

Exercise 11-1

以 ABCA 形式创作一首 32 小节的歌曲:主歌、副歌、桥段和主歌。以 4/4 拍使用 G 调,并标记乐曲的每个部分。

Compose a 32-measure song in the ABCA form: verse, chorus, bridge, and verse. Use the key of G, in 4/4 time, and label each section of the piece.

您至少需要知道的

The Least You Need to Know

  • 大多数流行歌曲都由简短的器乐引子、一首或多首诗句、副歌、桥段和结尾组成。
  • Most popular songs consist of a short instrumental intro, one or more verses, a chorus, a bridge, and an ending.
  • 歌曲的每个部分都分配了一个字母;歌曲的形式是用字母的组合来表示的。
  • Each part of the song is assigned a letter; the form of the song is notated by a combination of letters.

第4部分

PART

4

随同

Accompanying

在第 4 部分中,您将学习如何训练您的耳朵,以便可以写下您听到的音乐。然后您将了解如何在钢琴或吉他上创建简单的伴奏部分。最后,您将学习如何将一首歌曲的一个调调转换为完全不同的调调——无需​​数学!

In Part 4, you learn how to train your ears so you can write down the music you hear. Then you discover how to create simple accompaniment parts on piano or guitar. Finally, you learn how to transpose a song in one key to a totally different key—no math required!

第12

CHAPTER

12

抄写你所听到的

Transcribing What You Hear

在这一章当中

In This Chapter

  • 了解为什么听力训练很重要
  • Understanding why ear training is important
  • 探索如何积极倾听
  • Discovering how to actively listen
  • 发展你的音调记忆
  • Developing your tonal memory
  • 学习如何从录音中转录歌曲
  • Learning how to transcribe songs from recordings

在一个理想的世界里,你需要的一切都会在银盘上为你提供。作为一名音乐家,这意味着您总是会得到完美注释的乐谱供您阅读,所有和弦、旋律和节奏都清晰正确地写出来。

In an ideal world, everything you need is served up to you on a silver platter. As a musician, that means you’ll always get perfectly noted pieces of sheet music from which to read, with all the chords and melodies and rhythms clearly and correctly written out.

不幸的是,我们并不生活在一个理想的世界:你不会总是得到你必须演奏的歌曲的乐谱;有时你会被要求“见机行事”并自己弄清楚音乐。

Unfortunately, we don’t live in an ideal world: you won’t always get sheet music for the songs you have to play; sometimes you’ll be expected to “play by ear” and figure out the music on your own.

如何根据几次听过的录音,一个音符一个音符地写下一首音乐?这是一项特殊的技能,这是肯定的;其中涉及一种称为耳朵训练的技术。这意味着您必须训练您的耳朵来识别某些节奏和音程,并能够将您听到的内容转移到书面页面上。

How do you write down a piece of music, note for note, based on a few listens to a recording? It’s a particular skill, that’s for sure; one that involves a technique called ear training. That means you have to train your ears to recognize certain rhythms and intervals, and be able to transfer what you hear to the written page.

训练你的耳朵

Training Your Ear

考虑以下情况:您所在的乐队正在演奏最新的热门歌曲,乐队领队将您指向在线播放列表或递给您一张 CD,并要求您在明天晚上之前学习一首新曲子。没有乐谱,没有人回答你的问题,没有人和你一起练习并帮助你弄清楚——你完全靠自己,只有你和录音。

Consider the following: you’re in a band that plays the latest hit songs, and the band leader points you to an online playlist or hands you a CD and asks you to learn a new tune—by tomorrow night. No sheet music, no one to answer your questions, no one to practice with you and help you figure it out—you’re completely on your own, just you and the recording.

或者您正在与一位不懂音乐的词曲作者合作。您的朋友唱了一首旋律,并要求您将其写下来,以便他可以将其发送给音乐公关。他不知道这首歌是什么调,也不知道他唱的是什么音符;他把这些细节留给你去弄清楚。

Or you’re working with a songwriter who doesn’t read music. Your friend sings a melody, and asks you to write it down so he can send it to a music publicist. He doesn’t know what key the song is in, or what notes he’s singing; he leaves those details up to you to figure out.

也许你在教堂唱诗班演奏风琴。本周,客座歌手在周日礼拜前接近你,并说她将以 G 调唱《奇异恩典》。她没有任何乐谱给你——“你知道这首歌,”她说——如果你不会,你就必须快速学习。

Maybe you’re playing organ in the church choir. The guest vocalist this week approaches you just before Sunday’s service, and says she’ll be singing “Amazing Grace,” in the key of G. She doesn’t have any sheet music for you—“You know the song,” she says—and if you don’t, you’ll have to learn it, fast.

也许您正在当地酒吧的临时乐队中演奏萨克斯管。这是开放麦克风之夜,下一位表演者希望您为他的曲调添加一些喇叭伴奏。“这是一首 12 小节的布鲁斯,”他说,“A 调。第二副合唱之后有一段独奏。” 没有音乐,什么也没有——只有你,在舞台上即兴发挥。

Perhaps you’re playing saxophone in a pickup band at your local bar. It’s open mic night, and the next performer wants you to add some horn accompaniment to his tune. “It’s a 12-bar blues,” he says, “in the key of A. You have a solo after the second chorus.” No music, no nothing—just you, onstage, winging it.

所有这些情况都需要你迅速思考,或者更准确地说,见机行事。您需要能够听到一首歌并弄清楚正在演奏的和弦和音符,而无需任何书面音乐的帮助。

All of these situations require you to think on your feet—or, more properly, to play by ear. You need to be able to hear a song and figure out what chords and notes are being played, without the benefit of any written music.

这听起来可能令人畏惧,但这是您需要培养的技能。您必须能够听到旋律或和弦进行,然后转录您所听到的内容。通过练习,您将能够快速准确地完成此操作;它甚至可以成为第二天性。您所要做的就是训练您的耳朵。

This might sound daunting, but it’s a skill you need to develop. You have to be able to hear a melody or chord progression, and then transcribe what you hear. With practice, you’ll be able to do this quickly and accurately; it can even become second nature. All you have to do is train your ears.

定义

DEFINITION

抄写是用耳朵写下旋律和和弦的艺术,无需任何其他书面符号的帮助。

Transcribing is the art of writing down melodies and chords by ear, without the benefit of any other written notation.

转录音乐涉及三个不同的步骤:

Transcribing music involves three distinct steps:

1. 听

1. Listen

2. 流程

2. Process

3. 文件

3. Document

你从听音乐开始——不是为了被动的享受,而是为了更加主动,这样你就能清楚地听到每一个音符。然后你处理你所听到的内容,找出正在演奏的音符、和弦和节奏。最后,您可以通过在纸上写下音符或使用处理后的音乐作为现场演奏或即兴创作的基础来记录已处理的音乐。

You begin by listening to the music—not for passive enjoyment, but more actively, so that you clearly hear every note. Then you process what you’ve heard, figuring out what notes and chords and rhythms are being played. Finally, you document the music you’ve processed, either by writing down the notes on paper, or using the processed music as a basis for live playing or improvisation.

通过练习,您将几乎无意识地完成聆听过程文档系统;当您听到这些音符时,它们会自动出现,无需您做太多工作。所以,先预热一下你的耳朵——训练开始了!

With practice, you’ll move through the listen-process-document system almost subconsciously; the notes will come to you automatically when you hear them, without a lot of work on your part. So warm up your ears—it’s time for the training to begin!

笔记

NOTE

练耳是一项很难学的技能。培养听力技能需要时间和指导,对于大多数人来说,最好在课堂环境中或在经验丰富的老师的指导下完成。如果您认真训练耳朵,那么本书的在线音频文件是一个不错的起点。然后,您可以根据附录 B中提供的答案检查您的进度。您还可以获取 Ron Gorow 的《音乐听力和写作:当今音乐家的专业培训》的副本。更好的是,前往当地的社区学院或大学报名参加听力训练课程。您将从讲师那里得到的个人反馈和指导将是值得您付出努力的。

Ear training is a difficult skill to learn. Developing listening skills takes time and guidance, and for most people is best accomplished in a classroom setting or with an experienced teacher. If you’re serious about training your ears, a good place to start is with this book’s online audio files. You can then check your progress against the answers provided in Appendix B. You also can pick up a copy of Ron Gorow’s Hearing and Writing Music: Professional Training for Today’s Musician. Even better, head down to your local community college or university and sign up for an ear-training class. The personal feedback and guidance you’ll receive from the instructor will be worth the effort.

积极倾听

Listening—Actively

在我们开始适当的听力训练之前,您需要学习如何积极地听音乐。这不是为了享受而聆听;而是为了享受。聆听是为了记忆,也是为了分析。

Before we get into ear training proper, you need to learn how to actively listen to music. This isn’t listening for enjoyment; it’s listening to remember, and to analyze.

首先将自己从日常生活的喧嚣中隔离出来。关掉电视,关上窗户,隔绝所有外来的噪音——空调、冰箱、鱼缸里气泵的嗡嗡声。创造一个让您可以专注于音乐而不受任何干扰的环境。

Start by isolating yourself from the hurly-burly of your day-to-day life. Turn off the TV, close the windows, and block out all extraneous noises—the air conditioner, the refrigerator, the hum of the air pump in your fish tank. Create an environment in which you can focus on the music, without any distractions.

准备音乐。这意味着为您的计算机或音频系统设置一对好的扬声器,甚至是一副优质的耳机。确保可以轻松访问音乐源;您将需要进行大量的前后点击操作。

Prepare the music. This means setting up your computer or audio system with a good pair of speakers, or even a quality set of headphones. Make sure the music source can be easily accessed; you’ll be doing a lot of clicking backward and forward.

现在让自己舒服一点。找一把舒适的椅子、沙发,甚至地板上的一个地方,周围放上枕头。保持舒适,但不要放松;相反,保持警惕并准备好输入。当你做好充分准备后,就该倾听了。选择一首您最喜欢的歌曲;然后单击或按播放按钮……并聆听。

Now get yourself comfortable. Find a comfy chair, or a couch, or even a place on the floor, surrounded by pillows. Get comfortable, but don’t get relaxed; instead, remain alert and ready for input. When you’re fully prepared, it’s time to listen. Select a song, one of your favorites; then click or press the play button … and listen.

首先听歌曲的整体形式。确定一个短语的结束位置和另一个短语的开始位置。找出主歌、副歌、甚至桥段(如果有的话)在哪里。得到对歌曲的构成方式、其内在逻辑以及它从一个点流向另一个点的方式的感觉。

Begin by listening to the overall form of the song. Determine where one phrase ends and another begins. Figure out where the verses are, and the chorus, and even the bridge, if there is one. Get a feel for how the song is constructed, for its internal logic, for the way it flows from one point to another.

现在再听一遍这首歌,但这次要仔细关注旋律线。认真倾听,批判性地倾听。注意旋律在哪里上升,在哪里下降。注意旋律在哪里变化,主歌在哪里结束,副歌在哪里开始,以及哪里发生了变化。根据需要多次听,直到您确定可以逐字背诵为止。

Now listen to the song again, but this time focus carefully on the melody line. Listen hard, and listen critically. Note where the melody goes up, and where it goes down. Note where the melody changes, where the verse ends and the chorus begins, and where any variations occur. Listen to it as many times as you need, until you’re sure you can sing it back, verbatim.

回到歌曲的开头,这次不要听旋律。相反,听低音线。聆听演奏的音调和节奏。注意低音音符与旋律以及其他部分的关系。听低音部分并记住低音部分;然后再次播放歌曲并凭记忆与贝斯一起唱。

Return to the start of the song, and this time don’t listen to the melody. Instead, listen to the bass line. Listen to the tones played, and to the rhythms. Note how the bass notes relate to the melody, and to the other parts. Listen to the bass part and memorize the bass part; then play the song back again and sing along with the bass, from memory.

再次回到歌曲的开头。这次听另一部分——主音吉他,或钢琴,或萨克斯管。没关系; 选择一个部分,然后从头到尾遵循它。批判性地聆听,听听这部分与低音、旋律以及所有其他部分的配合情况。听直到你记住了该部分。

Again, return to the start of the song. This time listen to another part—the lead guitar, or the piano, or the saxophone. It doesn’t matter; pick a part, and follow it from start to finish. Listen critically, and hear how this part fits with the bass and the melody and all the other parts. Listen until you have the part memorized.

重复此过程,直到您熟悉歌曲的所有部分。达到可以在没有提示的情况下唱出任何给定部分的程度。让那首歌进入你的大脑;与音乐合而为一。

Repeat this process until you know all the parts of the song. Get to the point where you can sing back any given part, without prompting. Let that song get inside your brain; become one with the music.

提示

TIP

当您隔离低音线时,您可能需要调高音频系统上的低音(并调低高音),以更好地听到低音。

When you’re isolating the bass line, you might want to turn up the bass (and turn down the treble) on your audio system, to better hear the low notes.

最后,再听一遍整首歌曲,尝试找出和弦变化在哪里。每 4 拍、8 拍甚至 16 拍可能会有一个新和弦。找出拍号(可能是 4/4),然后尝试绘制和弦在歌曲形式上的变化图。

Finally, listen to the entire song again and try to figure out where the chord changes are. There might be a new chord every 4 beats, or 8, or even 16. Figure out the time signature (probably 4/4), and then try to lay a map of the chord changes over the form of the song.

这就是您积极聆听歌曲的方式。你不是为了享受而听(你可以单独听);你聆听是为了学习并记住。一旦你能从记忆中准确地回忆起某个部分,你就离弄清楚该部分背后的注释并将其抄写到纸上又近了一步。

This is how you actively listen to a song. You’re not listening for enjoyment (you can do that separately); you’re listening to learn—and to remember. Once you can recall a part exactly, from memory, you’re one step closer to figuring out the notes behind the part, and transcribing it to paper.

培养超级听力

Developing Super Hearing

作为积极聆听的一部分,您必须能够辨别音乐的组成部分。您必须能够听到离散的音高和音程,听到不同的节奏,甚至听到每个和弦中的各个音高。听起来很难吗?是的——这就是为什么你需要练习!

As part of your active listening, you have to be able to discern the component parts of the music. You have to be able to hear discrete pitches and intervals, hear different rhythms, and even hear the individual pitches within each chord. Sound difficult? It is—which is why you need to practice!

听觉音调

Hearing Pitch

第 1 课,第 2 课

Lesson 1, Track 2

您需要听到的音乐的第一部分是音高。您需要能够聆听音调,将其隔离,然后复制它。用简单的英语来说,这意味着您需要能够唱出您在歌曲中听到的任何特定音高。为此,您必须培养所谓的音调记忆音高记忆。这就是在歌曲或旋律的背景之外回忆特定音高的能力。

The first part of the music you need to hear is the pitch. You need to be able to listen to a pitch, isolate it, and then replicate it. In plain English, that means you need to be able to sing back any specific pitch you hear in a song. To do this, you have to develop what is called tonal memory, or pitch memory. This is simply the ability to recall a specific pitch, outside the context of the song or melody.

您可以通过这个简单的练习来培养您的音调记忆。取一杯半满的水,用勺子的边缘轻轻敲击它。玻璃会产生明显的音调。聆听音调,并将其牢记在心。等到玻璃杯停止响起,然后再等几秒钟,然后唱或哼出您听到的音符。当你唱歌(或哼唱)时,再次敲击玻璃;如果您的音调记忆准确,玻璃产生的第二个音调将与您正在唱歌的音调相同。如果没有,请再试一次,这次要多加注意。

You can develop your tonal memory with this simple exercise. Take a half-full glass of water and hit it (gently!) with the edge of a spoon. The glass will produce a distinct pitch. Listen to the pitch, and fix it in your head. Wait until the glass stops ringing, then wait a few seconds more, then sing or hum the note that you heard. While you’re singing (or humming), hit the glass again; if your tonal memory was on target, the second tone generated by the glass will be the same as the tone you’re singing. If not, try it again—and pay more attention this time.

笔记

NOTE

当您在脑海中(以您内心的声音)听到音符或旋律时,您正在将音乐内化。

When you hear notes or melodies inside your head (in your inner voice), you’re internalizing the music.

重复这个练习,在击打玻璃和唱出音符之间增加更多的时间。你在脑子里记住音符的时间越长,你的音调记忆感就会越好。

Repeat this exercise, adding more time between hitting the glass and singing the note. The longer you can hold the note in your head, the better developed your sense of tonal memory will be.

接下来,尝试找到乐器上的音高。(使用任何你喜欢的乐器——钢琴、吉他、小号,无论什么——都没关系。)敲击玻璃,等一下,唱出音调,然后尝试在你的乐器上演奏该音调。如果您无法立即找到球场,请不要担心。您可能需要浏览一些相关的音符,直到找到与您所唱的内容相匹配的音符。那是自然的。通过练习,您将能够更快地识别各个音调。

Next, try to find that pitch on an instrument. (Use whatever instrument you like—piano, guitar, trumpet, whatever—it doesn’t matter.) Hit the glass, wait a minute, sing the pitch, and then try to play that pitch on your instrument. Don’t worry if you can’t find the pitch right off. You might need to poke around a few related notes until you find the one that matches what you’re singing. That’s natural. With practice, you’ll be able to more quickly identify individual tones.

显然,您想要验证您正在演奏的音符的来源——响铃玻璃。当你击打玻璃时,在乐器上演奏音符;如果你的音符正确,它们就会一致。

Obviously, you want to verify the note you’re playing with the source—the ringing glass. Play the note on your instrument while you hit the glass; if you have the right note, they’ll be in unison.

您可以通过使用不同的对象生成不同的注释来扩展此练习。(您还可以将玻璃填充到不同的水平以产生不同的音调。)当您对自己的进度感到满意时,启动曲目并从旋律中选取一个音符。重复这个练习,这次尝试重现那个旋律音符。重播曲目以检查您的准确性。

You can extend this exercise by generating different notes with different objects. (You can also fill the glass to different levels to produce different pitches.) When you’re comfortable with your progress, fire up a track and pick a single note from the melody. Repeat the exercise, this time trying to reproduce that melody note. Replay the track to check your accuracy.

笔记

NOTE

有趣的是,大约 5% 的音乐家(只是音乐家,而不是一般人群)拥有所谓的绝对音高完美音高,这意味着他们可以在没有提示或帮助的情况下正确地唱歌或识别音阶中的任何给定音高。有些人声称能够帮助您发展这项技能,但一般来说,五岁左右的人几乎不可能“学习”完美音高。(不是百分百不可能,但几乎是。)无论如何,你并不真的需要这种长期的音高记忆来转录音乐。你可以很好地利用我们都拥有的短期音高记忆,以及良好的间隔记忆,我们将在接下来讨论。

Interestingly, about 5 percent of musicians (just musicians—not the general population) have something called absolute pitch or perfect pitch, which means they can, with no prompting or assistance, correctly sing or identify any given pitch in the scale. Some people claim to be able to help you develop this skill, but in general it is virtually impossible for anyone over the age of five or so to “learn” perfect pitch. (Not 100 percent impossible, but almost.) In any case, you don’t really need this kind of long-term pitch memory to transcribe music. You can get along fine with the short-term pitch memory that we all possess, along with a good interval memory, which we’ll discuss next.

听力间隔

Hearing Intervals

第 2 课,轨道 11

Lesson 2, Track 11

如果您可以听到并再现一个音符,那么两个音符又如何呢?

If you can hear and reproduce a single note, what about two of them?

没错:下一步是培养你的音调记忆,以破译和再现音高间隔。

That’s right: the next step is to develop your tonal memory to decipher and reproduce pitch intervals.

在开始练习之前,您需要开发一个相对区间关系的内部数据库。这意味着将给定对象内的所有不同音程内化——记住每个音程听起来是什么样的。

Before you begin your exercises, you need to develop an internal database of relative interval relationships. That means internalizing all the different intervals within a given object—remembering what each interval sounds like.

最好的方法就是坐在你的乐器前,弹奏每个音程,直到它铭刻在你的大脑中。演奏小二度、大二度、小三度、大三度等等,直到您记住每个音程。你会唱小三度吗?如果没有,你需要再学习一些。

The best way to do this is to sit down at your instrument and play each interval until it’s burned into your brain. Play a minor second, and a major second, and a minor third, and a major third, and so on, until you have each interval committed to memory. Can you sing a minor third? If not, you need to study some more.

当然,您可以采取一些捷径。如果您能记住特定的旋律片段,则可以将这些旋律与特定的音程相关联。下表提供了一些间歇训练的旋律快捷方式。

Of course, there are shortcuts you can take. If you can remember specific snatches of melody, you can associate those melodies with particular intervals. The following table provides some melodic shortcuts for your interval training.

流行旋律中的音程

Intervals Found in Popular Melodies

间隔

Interval

歌曲特定乐句

Song-Specific Phrase

上升

Ascending

小二度

Minor second

《大白鲨》主题曲

Theme from Jaws

达姆达姆……(低音线)

Dum-dum … (bass line)

《随着时间流逝》(选自《卡萨布兰卡》)

“As Time Goes By” (from Casablanca)

你必须记住这一点……

YOU MUST remember this …

大二

Major second

“弗雷尔·雅克”

“Frere Jacques”

FRE-RE 雅克 …

FRE-RE Jacques …

“生日快乐”

“Happy Birthday”

祝你生日快乐 …

Hap-PY BIRTH-day to you …

小三度

Minor third

“去实现不可能的梦想”

“To Dream the Impossible Dream”

梦想不可能的梦想……

TO DREAM the impossible dream …

勃拉姆斯摇篮曲

Brahms Lullaby

摇篮曲,晚安……

LULLA-BY and goodnight …

大三度

Major third

“祝自己度过一个快乐的小圣诞节”

“Have Yourself a Merry Little Christmas”

祝你自己度过一个快乐的小圣诞节……

HAVE YOUR-self a merry little Christmas …

“当圣人行进”

“When the Saints Go Marching In”

噢,当圣徒们……

OH WHEN the saints …

完美第四

Perfect fourth

“新娘来了”

“Here Comes the Bride”

新娘来了 …

HERE COMES the bride …

“奇异恩典”

“Amazing Grace”

奇异恩典 …

A-MAZ-ing grace …

“我们祝你圣诞快乐”

“We Wish You a Merry Christmas”

我们祝你圣诞快乐 …

WE WISH you a merry Christmas …

三全音

Tritone

《玛丽亚》(选自《西区故事》)

“Maria” (from West Side Story)

MA-RI-a …

MA-RI-a …

完美五度

Perfect fifth

《金手指》主题曲

Theme from Goldfinger

金鳍格…

GOLD-FIN-ger …

“我最喜欢的东西”(选自《音乐之声》)

“My Favorite Things” (from The Sound of Music)

玫瑰上的雨滴……

RAIN-DROPS on roses …

“一闪一闪亮晶晶”

“Twinkle Twinkle Little Star”

一闪一闪亮晶晶 …

TWINKLE TWINKLE little star …

《绿野仙踪》中邪恶女巫守卫的圣歌

Chant of the Wicked Witch’s guardsmen in The Wizard of Oz

YO-EE-哦…

YO-EE-oh …

小六度

Minor sixth

“日出,日落”(选自《屋顶上的提琴手》)

“Sunrise, Sunset” (from Fiddler on the Roof)

这是那个小女孩吗……

IS this THE little girl …

大六度

Major sixth

“NBC”钟声

“NBC” chime

NBC(前两个音符)

N-B-C (first two notes)

《铃儿响叮当》

“Jingle Bells”

冲过雪地……

DASH-ING through the snow …

“它是在午夜晴朗时到来的”

“It Came Upon the Midnight Clear”

午夜晴朗时……

IT CAME upon the midnight clear …

小七度

Minor seventh

“我们有一席之地”(选自《西城故事》)

“There’s a Place for Us” (from West Side Story)

我们有一个地方……

THERE’S A place for us …

星际迷航主题曲

Theme from Star Trek

嘟嘟……(前两个音符)

Doo-doooo … (first two notes)

大七度

Major seventh

“把命运抛向风”

“Cast Your Fate to the Wind”

(旋律的前两个音符)

(first two notes of the melody)

“彩虹之上的某个地方”

“Somewhere Over the Rainbow”

彩虹之上的某个地方……

SOME-where O-ver the rainbow …

八度

Octave

“彩虹之上的某个地方”

“Somewhere Over the Rainbow”

彩虹之上的某个地方……

SOME-WHERE over the rainbow …

“一首圣诞歌曲”

“A Christmas Song”

在明火上烤栗子……

CHEST-NUTS roasting on an open fire …

降序

Descending

小二度

Minor second

“欢乐世界”(圣诞颂歌)

“Joy to the World” (Christmas carol)

愿世界欢乐,主已降临……

JOY TO the world, the Lord is come …

《纺车》(血、汗、泪)

“Spinning Wheel” (Blood, Sweat and Tears)

骑一匹彩绘小马……

RIDE A painted pony …

大二

Major second

《三只瞎老鼠》

“Three Blind Mice”

三只瞎眼的老鼠……

THREE BLIND mice …

“玛丽有只小羊羔”

“Mary Had a Little Lamb”

玛丽有只小羊羔 …

MA-RY had a little lamb …

“昨天”(披头士乐队)

“Yesterday” (The Beatles)

昨天,我所有的烦恼似乎都那么遥远……

YES-TERDAY, all my troubles seemed so far away …

小三度

Minor third

“耶稣爱我”

“Jesus Loves Me”

JE-SUS 爱我,我知道……

JE-SUS loves me this I know …

“嘿裘德”(披头士乐队)

“Hey Jude” (The Beatles)

嘿朱德……

HEY JUDE …

大三度

Major third

“低摆,甜蜜的战车”

“Swing Low, Sweet Chariot”

低摆,甜蜜的战车……

SWING LOW, sweet chariot …

“晚安女士们”(选自《音乐》)

“Good Night Ladies” (from The Music Man)

晚安女士 …

GOOD NIGHT ladies …

《夏日时光》(选自《波吉与贝丝》)

“Summertime” (from Porgy and Bess)

夏季,生活很轻松……

SUM-MER-time, and the livin’ is easy …

完美第四

Perfect fourth

“生而自由”

“Born Free”

生而自由 …

BORN FREE …

“我的女孩”(诱惑)

“My Girl” (The Temptations)

我的女孩,谈论我的女孩……

MY GIRL, talkin’ ’bout my girl …

三全音

Tritone

欧洲警笛

European police siren

完美五度

Perfect fifth

《摩登原始人》主题曲

Theme from The Flintstones

打火石,认识一下打火石……

FLINT-STONES, meet the Flintstones …

“情怀”

“Feelings”

感觉,哇,哇,哇,感觉……

FEEL-INGS, whoa, whoa, whoa, feelings …

小六度

Minor sixth

《爱情故事》主题曲

Theme from Love Story

我从哪开始呢 …

WHERE DO I begin …

大六度

Major sixth

“在那边”

“Over There”

在那边 …

O-VER there …

“没有人知道我见过的麻烦”

“Nobody Knows the Trouble I’ve Seen”

没人知道 …

NO-BOD-y knows …

小七度

Minor seventh

《西瓜人》

“Watermelon Man”

Water-MEL-on MAN …

Water-MEL-on MAN …

大七度

Major seventh

“祝自己度过一个快乐的小圣诞节”

“Have Yourself a Merry Little Christmas”

现在就祝你自己度过一个快乐的小圣诞节吧……

And HAVE YOUR-self a merry little Christmas now …

八度

Octave

“盐花生”(头晕的吉莱斯皮)

“Salt Peanuts” (Dizzy Gillespie)

盐豌豆坚果、盐花生……

Salt PEA-NUTS, salt peanuts …

像练习音调记忆一样练习间隔记忆。首先听一首歌曲,然后选择旋律中两个相邻的音符——前两个音符通常是最好的选择。等待几秒钟;然后尝试唱出这两个音符。再次播放歌曲来验证您的准确性。

Exercise your interval memory the same way you did your tonal memory. Start by listening to a song and picking two adjacent notes in the melody—the first two notes are often the best to work with. Wait a few seconds; then try to sing the two notes. Verify your accuracy by playing the song again.

一旦您能够内化音程,请尝试确定您正在唱歌的音程。是一秒吗?三分之一?是大事还是小事?确定音程,然后尝试在乐器上重现该音程。一旦你能够准确地弹奏音程,你就可以验证你猜测的具体音程。(例如,如果您发现自己演奏 G,然后演奏 B,您就知道您演奏的是大三度。)

Once you can internalize the interval, try to determine what interval you’re singing. Is it a second? A third? Is it major or minor? Determine the interval, and then try to reproduce the interval on your instrument. Once you can accurately play the interval, you can verify the specific interval you guessed. (For example, if you find yourself playing a G and then a B, you know you’re playing a major third.)

提示

TIP

当您第一次开始听音程时,您应该关注两个音符之间的相对距离。球场之间的跨度大吗?如果是,则间隔较大;也许是第五个或第六个或更大的东西。球场之间的跨度是否很窄?如果是,则间隔较小;也许是第二个或第三个。在确定精确的间隔之前,尽可能缩小可能性。

When you first start listening to intervals, you should focus on the relative distance between the two notes. Is it a wide span between the pitches? If so, the interval is a larger one; maybe a fifth or a sixth or something even larger. Is it a narrow span between the pitches? If so, the interval is a smaller one; maybe some sort of second or third. Narrow the possibilities down as much as possible before you determine the precise interval.

听觉节奏

Hearing Rhythms

第 4 课,第 27 课

Lesson 4, Track 27

我们将暂时搁置音高,重点关注音符时长——换句话说,就是你的节奏记忆。使用与之前相同的技巧,但这次要听歌曲旋律的节奏。首先找出歌曲的拍号并将旋律(在你的脑海中)分解为小节。现在选择旋律第一小节的前几个节拍。停止播放,在头脑中固定节奏,然后用手在桌子上敲击它。重复这个过程,直到你能在头脑中保持节奏半分钟或更长时间。

We’ll set aside pitches for a moment and instead focus on note durations—in other words, your rhythmic memory. Use the same technique as you did before, but this time listen to the rhythm of a song’s melody. Start by figuring out the time signature of the song and breaking the melody (in your head) into measures. Now pick the first few beats of the melody’s first measure. Stop the playback, fix that rhythm in your head, and then pound it out with your hand on a table. Repeat this process until you can hold the rhythm in your head for half a minute or longer.

一旦你可以重复一个简短的节奏乐句,就可以提高赌注了。尝试重复整个小节的节奏;然后是两个,然后是四个,然后是整个旋律。一定要根据原曲的节奏及时敲击桌子来检查自己的准确性。

Once you can repeat a short rhythmic phrase, it’s time to up the ante. Try repeating the rhythm for an entire measure; then two, then four, then for the entire melody. Always check your accuracy by pounding the table in time to the original song.

将旋律的整个节奏牢记在心,使用您学到的理论并尝试转录节奏。从小事开始,一次一两个节拍。确保你写的节奏在数学上是合理的;例如,如果歌曲为 4/4,则所有音符必须加起来形成一个完整的全音符。(这意味着四分之四、八分之八、四分之二和八分之四,或者其他什么。)

With the entire rhythm of the melody committed to memory, use the theory you’ve learned and try to transcribe the rhythm. Start small, a beat or two at a time. Make sure the rhythm you write is mathematically sound; for example, if the song is in 4/4, all the notes have to add up to a full whole note. (That means four quarters, or eight eighths, or two quarters and four eighths, or whatever.)

写下整个节奏后,再次播放歌曲,这次读出您写下的节奏。如果您发现差异,请更正;否则,用另一首歌曲重复练习,这一次是一首节奏更复杂的歌曲。

Once you’ve written down the entire rhythm, play back the song again, this time reading the rhythm you’ve written. If you notice a discrepancy, correct it; otherwise, repeat the exercise with another song, this time one that is more rhythmically complex.

聆听旋律

Hearing Melodies

第 5 课,第 36 课

Lesson 5, Track 36

现在您已经可以听到单独的音符、音程和节奏,您应该能够听到并转录完整的旋律。您所要做的就是按照正确的顺序将您听到的所有内容放在一起,以培养您的旋律记忆。

Now that you can hear individual notes, intervals, and rhythms, you should be able to hear and transcribe complete melodies. All you have to do is put together everything you hear, in the right order, to develop your melodic memory.

虽然您可以一次用一个音符或一个音程拼凑出一段旋律,但如果您先尝试掌握整体情况会更容易。这意味着要弄清楚旋律有多少小节,以及它是如何分解成乐句的。一旦您可以将旋律分解为各个组成部分,您就应该分别关注每个部分。

Although you can piece together a melody one note or interval at a time, it’s easier if you try to grasp the big picture first. That means figuring out how many measures long the melody is, and how it’s broken up into phrases. Once you can disassemble a melody into its component parts, you should focus on each part separately.

这部分旋律以什么音高开始?它以什么音调结束?乐句的中间部分以什么音调结束?如果您尝试精确定位旋律的各个部分,那么将这些点连接起来并用适当的传递和相邻音调填充空白区域应该相对容易。

On what pitch does this part of the melody start? On what pitch does it end? On what pitch does the middle of the phrase end? If you try to pinpoint individual parts of the melody, it should be relatively easy to connect the dots and fill in the empty spaces with the proper passing and neighboring tones.

一旦您写出了整个旋律(包括音高和节奏音符),请记住通过播放您编写的旋律来验证您的准确性。将您演奏的旋律与您第一次听到的旋律进行比较;你做得越好,他们就越接近。

Once you’ve written out the entire melody—including both pitches and rhythmic notes—remember to verify your accuracy by playing back the melody you’ve written. Compare the melody you play with the melody you first heard; the better you get, the closer they’ll match up.

听力键

Hearing Keys

一旦你能记下旋律,你就应该能够确定这首歌的调。例如,如果你的旋律包含 B ,但没有其他降调或升调音符,那么很有可能这首歌是用(您可能还记得第 4 章中的内容,F 调只有一个降号。)如果旋律有 F 和 C ,那么您可能处于 D 调。

Once you can notate a melody, you should be able to determine what key the song is in. For example, if your melody incorporates a B—but no other flat or sharp notes—it’s a good guess that the song is written in the key of F. (As you probably remember from Chapter 4, the key of F has a single flat.) If the melody has an F and a C, you’re probably in the key of D.

确定调的另一种方法是固定旋律的主音。如果旋律继续解析为 G,则您很可能会使用 G 调。(除非旋律是小调,在这种情况下,您可能会使用 G 小调。)

Another way to determine the key is to fix the home pitch of the melody. If the melody keeps resolving to G, chances are you’re in the key of G. (Unless, that is, the melody is minor—in which case, you could be in the key of G minor.)

在播放原始歌曲的同时,使用乐器以指定调演奏大调音阶来测试您的猜测。如果所有注释都相符,那么您就猜对了。如果没有,请尝试使用相关的调——五度音圈上一到两步远的调。

Test your guess by using your instrument to play a major scale in the designated key, while the original song is playing. If all the notes fit, you’ve guessed right. If not, try a related key—a key one or two steps away on the circle of fifths.

听和弦和和弦进行

Hearing Chords and Chord Progressions

第 6 课,第 41 课

Lesson 6, Track 41

难题的最后一部分涉及底层的和弦结构。您需要听到和弦何时改变以及它们改变成什么。

The last piece of the puzzle concerns the underlying chord structure. You need to hear when the chords change, and what they change to.

在确定和弦时,听歌曲的低音线会有所帮助。如果你听贝斯正在演奏的音符,十分之九的主音符(除了所有的装饰)将是底层和弦的根音。例如,如果您知道这首歌的调为 C,并且贝司手连续小节演奏 C、A、F 和 G,则可以很好地猜测和弦进行是 C-Am-FG。

When determining chords, it helps to listen to the song’s bass line. If you listen to the notes the bass is playing, 9 times out of 10 the main notes—all embellishment aside—will be the root notes of the underlying chords. For example, if you know the song is in the key of C and the bass player plays, in successive measures, C, A, F, and G, it’s a good guess that the chord progression is C-Am-F-G.

您还应该仔细聆听以确定您听到的是大和弦还是小和弦。请记住,大和弦听起来很快乐;小调和弦有点悲伤。

You should also listen carefully to determine whether you’re hearing a major or a minor chord. Remember, major chords are happy sounding; minor chords are a little sad.

提示

TIP

如果你听不清和弦,你可以随时尝试从旋律的音符中找出和弦,你在第 10 章中已经学会了如何

If you’re having trouble hearing the chords, you can always try to figure out the chords from the notes of the melody, which you learned how to do in Chapter 10.

一旦你弄清楚了歌曲中的和弦,你应该根据你之前转录的旋律测试你的和弦转录。确保旋律的音符符合和弦结构;如果没有,您可能需要重新考虑一些和弦。

Once you’ve figured out the chords in the song, you should test your chord transcription against the melody you’ve previously transcribed. Make sure the notes of the melody fit within the chord structure; if not, you probably need to rethink a few chords.

当您根据原始录音弹奏和弦时,真正的考验就会到来。要特别小心地将和弦变化的位置与原始歌曲中和弦变化的位置相匹配。意外跳过一两个和弦变化的情况并不少见,因此请仔细聆听以确保您掌握了所有变化。

The real test comes when you play your chords against the original recording. Be especially careful to match where your chords change with where the chords change in the original song. It’s not uncommon to accidentally skip a chord change or two, so listen closely to make sure you picked up on all the changes.

全部写下来

Writing It All Down

如果您仔细遵循练习,您最终会得到一首特定歌曲的旋律和和弦的完整转录。恭喜!我知道这是一项艰巨的工作,但随着您在音乐领域的进步,这项新发现的技能将一次又一次地使用。

If you’ve followed the exercises carefully, you’ve ended up with a complete transcription of the melody and chords for a specific song. Congratulations! It’s a lot of work, I know, but this newfound skill is one you’ll use again and again as you progress in the music field.

您可以通过转录歌曲的其他部分(而不仅仅是旋律)来进一步发展这项技能。如果歌曲有喇叭部分,请尝试找出并转录每个单独的喇叭部分。如果有管弦乐伴奏,请努力抄写弦乐部分。如果有一个奇特的节奏部分,请隔离并转录每个打击乐手演奏的节奏。

You can further develop this skill by transcribing other parts of the song, not just the melody. If the song has a horn section, try to figure out and transcribe each individual horn part. If there’s an orchestral backing, work on transcribing the string parts. If there’s a fancy rhythm section, isolate and transcribe the rhythms played by each individual percussionist.

如果您选择从事作曲或编曲领域,进一步发展您的转录技能尤其重要。您当然可以挑战自己,为高中爵士乐队抄写整个大乐队的编曲,为教堂唱诗班抄写完整的合唱编曲,或者为社区管弦乐队抄写弦乐四重奏。这项技能很有价值——当你正确掌握它时,你会获得巨大的成就感。

Further developing your transcribing skill is especially important if you choose to pursue the fields of composing or arranging. You can certainly challenge yourself by transcribing an entire big-band arrangement for your high school jazz band, a full choral arrangement for your church choir, or a string quartet for your community orchestra. There’s value in this skill—and a great sense of accomplishment when you get it right.

练习

Exercises

练习12-1

Exercise 12-1

在乐器上弹奏以下每个音符,等待 30 秒,然后再唱出来。

Play each of the following notes on your instrument, wait for 30 seconds, and then sing them back.

练习12-2

Exercise 12-2

从您喜欢的任何音符开始,唱以下每个升序音程。

Sing each of the following ascending intervals, starting on any note you like.

  • 大三度
  • Major third
  • 完美五度
  • Perfect fifth
  • 完美第四
  • Perfect fourth
  • 大二
  • Major second
  • 小二度
  • Minor second
  • 小三度
  • Minor third
  • 八度
  • Octave
  • 三全音
  • Tritone

练习12-3

Exercise 12-3

从您喜欢的任何音符开始,唱以下每个降序音程。

Sing each of the following descending intervals, starting on any note you like.

  • 小三度
  • Minor third
  • 大二
  • Major second
  • 完美五度
  • Perfect fifth
  • 大六度
  • Major sixth
  • 完美第四
  • Perfect fourth
  • 大七度
  • Major seventh
  • 大三度
  • Major third
  • 小六度
  • Minor sixth

练习12-4

Exercise 12-4

依次唱出以下和弦的所有音符。(从您喜欢的任何根音开始。)

Sing all the notes of the following chords, one after another. (Start on any root note you like.)

  • 大和弦
  • Major chord
  • 小和弦
  • Minor chord
  • 减和弦
  • Diminished chord
  • 增和弦
  • Augmented chord
  • 大七和弦
  • Major seventh chord
  • 小七和弦
  • Minor seventh chord
  • 属七和弦
  • Dominant seventh chord
  • 大九和弦
  • Major ninth chord

练习12-5

Exercise 12-5

(仅)转录“I Got Rhythm”的节奏。

Transcribe the rhythm (only) of “I Got Rhythm.”

练习12-6

Exercise 12-6

转录“这片土地是你的土地”的旋律。

Transcribe the melody of “This Land Is Your Land.”

练习12-7

Exercise 12-7

转录您最喜欢的一首流行歌曲的旋律和和弦。

Transcribe the melody and chords of one of your favorite popular songs.

练习12-8

Exercise 12-8

聆听并完成本书的所有在线听力训练练习,并在附录 B中检查您的答案。

Listen to and complete all of this book’s online ear training exercises, and check your answers in Appendix B.

您至少需要知道的

The Least You Need to Know

  • 当您没有创作音乐时,或者当您想要找出最近听过的歌曲时,耳朵训练是必要的。
  • Ear training is necessary for those times when you don’t have written music to work with—or when you want to figure out a song you’ve recently heard.
  • 转录歌曲的关键是聆听、处理你所听到的内容,然后记录你所处理的内容。
  • The key to transcribing a song is to listen, process what you’ve heard, and then document what you’ve processed.
  • 为了准确地分析一首音乐,你必须学会​​如何积极地聆听——分离并记住歌曲的各个部分。
  • To accurately analyze a piece of music, you have to learn how to actively listen—to isolate and then remember the individual parts of the song.
  • 作为听力训练过程的一部分,您必须发展您固有的音调、音程和节奏记忆,以便您能够记住并复制您听到的音高、节奏和旋律。
  • As part of the ear training process, you must develop your intrinsic tonal, interval, and rhythmic memory, so that you can remember and replicate the pitches, rhythms, and melodies you hear.
  • 一旦您转录了整个旋律,您就可以更轻松地找出歌曲的调号及其基本和弦结构。
  • Once you’ve transcribed the entire melody, you can more easily figure out the song’s key signature and its underlying chord structure.

第13

CHAPTER

13

伴奏旋律

Accompanying Melodies

在这一章当中

In This Chapter

  • 使用铅板
  • Working with a lead sheet
  • 弄清楚要玩什么
  • Figuring out what to play
  • 了解不同类型的伴奏
  • Understanding different types of accompaniment
  • 添加更有趣的低音部分
  • Adding a more interesting bass part
  • 用吉他伴奏
  • Accompanying on guitar

如果您弹钢琴或吉他,有时您会被要求为另一位音乐家或一群音乐家伴奏。也许它在教堂的歌手后面演奏,或者在学校为孩子的合唱团伴奏,甚至在布鲁斯乐队中的口琴独奏者后面表演。无论情况如何,您都应该为主要音乐家提供至少基本的支持。

If you play piano or guitar, at some point you’ll be asked to accompany another musician or group of musicians. Maybe it’s playing behind a singer at church, or backing up your children’s choir at school, or even vamping behind a harmonica soloist in a blues band. Whatever the situation, you’ll be expected to provide at least rudimentary backing to the primary musicians.

如果除了这个请求之外,您还收到了一页详细的乐谱,那么您就准备好了。您所要做的就是阅读您的部分,演奏音符,然后鞠躬。

If, along with this request, you also are handed a page of detailed sheet music, you’re set. All you have to do is read your part, play the notes, and take your bows.

然而,如果请求中没有书面音乐,那么您的工作就已经完成了。根据演出的不同,你可能需要抄写旋律、找出和弦并创作自己的部分——如果你有适当的音乐理论基础,所有这些你都可以做到。

However, if there’s no written music accompanying the request, you have your work cut out for you. Depending on the gig, you might have to transcribe the melody, figure out the chords, and compose your own part—all of which you can do, if you have the proper grounding in music theory.

分数是多少?

What’s the Score?

当你被要求为某人伴奏钢琴(或吉他)时,你应该首先弄清楚你需要做多少作业。这取决于您提供的书面音乐的数量。

When you’re asked to accompany someone on piano (or guitar, for that matter), you should first figure out how much homework you need to do. This is determined by the amount of written music you’re given.

所有可能情况中最好的情况是您收到完整的乐谱。如果是这种情况,您无需继续阅读本章 - 您已经准备好了!

The best of all possible situations is that you receive a complete musical score. If this is the case, you don’t need to read any further in this chapter—you’re set!

然而,更有可能的是,您只会获得粗略的书面信息,或者根本没有。如果是这种情况,您需要应用在前面的章节中学到的技能来弄清楚要玩什么。

However, it’s more likely that you’ll be provided with only sketchy written information—or none at all. If this is the case, you need to apply the skills you’ve learned in the previous chapters to figure out just what to play.

从铅表开始工作

Working from a Lead Sheet

这是 411:您会收到一张包含旋律和和弦的乐谱,音乐家称之为主乐谱。它看起来像这样:

Here’s the 411: you’re given a sheet of music that includes the melody and the chords—what musicians call a lead sheet. It will look something like this:

典型的主奏表——旋律和和弦符号。

A typical lead sheet—melody and chord symbols.

笔记

NOTE

在第 21 章中了解有关铅板和其他类型布置的更多信息。

Learn more about lead sheets and other types of arrangements in Chapter 21.

有了这张铅片在手,你会玩什么?

With this lead sheet in hand, what do you play?

对于许多新手音乐家来说,诱惑是用右手演奏旋律并用左手形成和弦。你应该抵制这种诱惑。

The temptation for many novice musicians is to play the melody with your right hand and form the chords with your left hand. You should resist this temptation.

当您阅读主奏表时,所提供的旋律(也称为主奏)仅供您参考。除非您在鸡尾酒吧演奏钢琴独奏,否则您不需要演奏旋律,除非在乐器休息期间。

When you read a lead sheet, the melody (also known as the lead) is provided for your reference only. Unless you’re playing solo piano in a cocktail bar, you’re not expected to play the melody, except maybe during instrumental breaks.

不,您需要演奏的是和弦,以及您可以在旋律后面演奏的任何类型的装饰或和声。

No, what you’re expected to play are the chords—along with any kind of embellishment or harmony you can create to play behind the melody.

笔记

NOTE

如果您在翻唱乐队、爵士乐队或其他休闲乐团中演奏,您会看到很多主唱单。许多音乐家使用的所谓“假书”包含数百张各种流派流行歌曲的主唱页。

If you play in a cover band, jazz band, or other casual ensemble, you’ll see lots of lead sheets. The so-called “fake books” many musicians use contain hundreds of lead sheets for popular songs in a variety of genres.

但在这种情况下,你需要做的主要事情是弹奏和弦,这些和弦是用大而粗的字母印在你的主纸上的。用右手弹奏和弦本身,同时用左手弹奏和弦的根音(低音线)。

But the main thing you need in this situation is to play the chords, which you have—printed in big, bold letters on your lead sheet. Play the chords themselves with your right hand, while you play the root note of the chord (the bass line) with your left hand.

这就是你所需要玩的全部内容,而且一点也不难。

That’s all you have to play, and it isn’t hard at all.

提示

TIP

当您用右手弹奏和弦时,请尽量避免以标准 1-3-5 倒转方式弹奏每个和弦。尝试不同的转位(不同的发声),以更好地将相邻和弦的音符组合在一起。(有关和弦转位的更多信息,请返回第 9 章。)例如,如果您在 C 和 F 和弦之间交替,您可能会弹奏 C 和弦 CEG,然后弹奏 F 和弦 CFA(第一次转位),这样您就可以将拇指放在两个和弦的 C 音符上。

When you’re playing chords with your right hand, try to avoid playing every chord in the standard 1-3-5 inversion. Try different inversions—different voicings—to better group the notes from adjacent chords together. (Turn back to Chapter 9 for more information on chord inversions.) For example, if you’re alternating between the C and the F chord, you might play the C chord C-E-G, but then play the F chord C-F-A (first inversion), which lets you leave your thumb on the C note for both chords.

从和弦表开始工作

Working from a Chord Sheet

和弦表就像主奏表一样,但没有写出旋律。有时您会看到每个节拍的斜线符号,有时和弦会放在歌曲的歌词上。使用和弦表就像使用主奏表一样,用右手弹奏和弦,用左手弹奏和弦的根音。典型的和弦表如下所示:

A chord sheet is like a lead sheet, but without the melody written out. Sometimes you’ll see slash notation for each beat, other times the chords will be placed over a song’s lyrics. Working from a chord sheet is just like working from a lead sheet—play the chords with your right hand and the root of the chord with your left. A typical chord sheet looks like this:

一张和弦表——没有旋律。

A chord sheet—no melody.

从旋律开始工作

Working from a Melody

有时你会得到没有和弦的旋律(以主奏曲的形式)。你所需要的只是旋律——没有和弦,没有低音线,没有其他任何东西。

Sometimes you get the melody (in the form of a lead sheet) without chords. All you have to go on is the melody—no chords, no bass line, no anything else.

旋律表——没有和弦。

A melody sheet—no chords.

你现在做什么?

What do you do now?

首先,不要惊慌。其次,回想一下第 10 章,您在其中学习了如何基于旋律线创建和弦进行。这就是你现在需要利用的技能。

First, don’t panic. Second, remember back to Chapter 10, in which you learned how to create a chord progression based on a melodic line. That is the skill you need to draw on now.

拿起给你的旋律,自己去听半个小时左右。在钢琴上弹奏旋律,并尝试找出哪些和弦与该旋律听起来不错。如果这是一首熟悉的歌曲,你可能会很容易记住和弦;如果您以前从未听过这首歌,那么您的工作就已经完成了。无论如何,应用您在第 10 章中学到的规则,并为该旋律写出您自己的和弦进行。

Take the melody you were given and go off by yourself for a half hour or so. Play the melody on the piano, and try to figure out what chords sound good with that melody. If it’s a familiar song, the chords might come easily to you; if you’ve never heard the song before, you have your work cut out for you. In any case, apply the rules you learned back in Chapter 10, and write out your own chord progression for this melody.

提示

TIP

当您试图找出旋律背后的和弦时,您可以采取几种不同的方法。正如您在第 10 章中学到的,最好的方法是尝试一些常见的和弦进行。看看I-IV-V是否符合旋律;如果没有,请尝试 I-ii-V、I-vi-IV-V 或“五度循环”进行。有可能,常见的和弦进行之一会适合或至少接近。

When you’re trying to figure out the chords behind a melody, you can take several different approaches. The best, as you learned in Chapter 10, is to try some common chord progressions. See if I-IV-V fits the melody; if not, try I-ii-V, or I-vi-IV-V, or the “circle of fifths” progression. Chances are, one of the common chord progressions will fit or at least come close.

这里的关键是你写的和弦现在就是你的和弦。即使它们不是这首旋律的既定和弦,你也可以通过声称这是你独特的和声来摆脱它。你在弹钢琴,你负责,所以你弹的东西一定是正确的!

The key thing here is that the chords you write are now your chords. Even if they’re not quite the established chords for this melody, you can get away with it by claiming that this is your unique harmonization. You’re at the piano, and you’re in charge, so what you play must be right!

现在,如果您与其他音乐家(也许是贝斯手或吉他手)一起演奏,您不希望最终为这首旋律使用三组不同的和弦。如果你们在一个小组中演奏,请大家齐心协力,以小组的形式计算出和弦进行。哎呀,也许你们中的一个人已经知道和弦了!无论如何,三个头比一个好,一起你应该能够为这首歌想出正确的和弦进行。

Now, if you’re playing along with other musicians—perhaps a bass player or a guitarist—you don’t want to end up with three different sets of chords to this single melody. If you’re playing in a group, put your heads together and work out the chord progressions as a group. Heck, maybe one of you actually knows the chords already! In any case, three heads are better than one, and together you should be able to come up with just the right chord progression for this song.

从零开始工作

Working from Nothing

现在我们来看看最坏的情况。你被要求弹钢琴伴奏,但根本没有给你任何音乐。你所拥有的只是你的耳朵和你的手指,以及你从阅读这本书中学到的所有技能。

Now we visit the worst-case scenario. You’re asked to play piano accompaniment and you’re given no music at all. All you have are your ears and your fingers, and all the skills you’ve picked up from reading this book.

现在你可以惊慌了!

Now you can panic!

在这种情况下,寻求帮助是可以的。询问负责人是否有任何东西可以给你——一张铅板、一张歌词板、一个旧小号声部——任何东西都可以。(在这种情况下,有总比没有好。)询问这首歌是什么调。询问是否有人知道和弦,可以教你或为你写下来。询问是否有人有这首歌的录音可以带回家听。

In this situation, it’s okay to ask for help. Ask the person in charge if he or she has anything to give you—a lead sheet, a lyric sheet, an old trumpet part—anything at all. (Anything is better than nothing in this scenario.) Ask what key the song is in. Ask if there’s anyone who knows the chords and can either teach them to you or write them down for you. Ask if anyone has a recording of the song you can take home and listen to.

简而言之,寻求所有可以获得的帮助。

In short, ask for all the help you can get.

无论你得到什么微薄的帮助,你现在只能靠自己了。现在是时候依靠您在第 12 章中学到的听力训练技能了。你需要弄清楚旋律,找出调子,并找出和弦。简而言之,你必须根据记忆重建这首歌,并希望你能做对。

Whatever meager help you get, you’re now on your own. It’s time to fall back on the ear-training skills you learned back in Chapter 12. You’ll need to figure out the melody, figure out the key, and figure out the chords. In short, you have to reconstruct the song from memory and hope you get it right.

然后,当你开始演奏时,歌手说“这些和弦不正确!” 确保附近有一些小而重的东西——因为你会想扔掉它!

Then, when you start to play and the vocalist says “Those aren’t the right chords!” make sure you have something small but heavy nearby—because you’ll want to throw it!

处理表格

Working the Form

一旦你记下和弦,你就需要写下某种“备忘单”来帮助你记住歌曲的形式。在第一段副歌之前你会演奏一两节经文吗?简介要多长?中间是否有乐器中断——有多少小节?你会在最后淡出,还是停止冷淡?

Once you get the chords written down, you’ll need to write down some sort of “cheat sheet” to help you remember the form of the song. Do you play one or two verses before the first chorus? How long is the introduction? Is there an instrumental break in the middle—and for how many measures? Do you fade out at the end, or stop cold?

您需要弄清楚所有这些并将其写下来,这样您就会记住何时开始,何时停止以及中间要做什么。使用您在第 11 章中学到的形式符号(AABA、ABCA 等)来帮助您保住自己的位置。

You’ll need to figure all this out and write it down, so you’ll remember when to start, when to stop, and what to do in between. Use the form notation (AABA, ABCA, and so forth) you learned back in Chapter 11 to help you keep your place.

扮演好角色

Playing the Part

一旦你写下了和弦,你就必须演奏这首歌。因为没有正式的钢琴声部,所以您需要自己决定要演奏什么类型的声部。幸运的是,你可以运用一些常见的伴奏技巧;你不必重新发明轮子。

Once you have the chords written down, you have to play the song. Because there’s no formal piano part, you’re on your own in terms of figuring out what type of part to play. Fortunately, you can employ some common accompaniment techniques; you don’t have to reinvent the wheel.

块和弦伴奏

Block Chord Accompaniment

最容易演奏的伴奏类型是块和弦伴奏。这种方法正如其听起来一样:每当有和弦变化时,您将所有手指(同时)放在键盘上并弹奏和弦。

The easiest type of accompaniment to play is the block chord accompaniment. This approach is exactly as it sounds: whenever there’s a chord change, you put all your fingers on the keyboard (at the same time) and play the chord.

就是这样。你不会演奏任何特殊的节奏,你不会琶音和弦,除了重击之外你什么也不做和弦的音符同时发出。

That’s it. You don’t play any special rhythms, you don’t arpeggiate the chord, you don’t do anything except plunk! the notes of the chord all at once.

您所要做的就是将和弦的三个(或更多)音符放在右手中,然后用左手将和弦的根音加倍,如下所示:

All you have to do is put the three (or more) notes of the chord in your right hand and double the root of the chord with your left hand, like this:

用块和弦伴奏旋律。

Accompanying a melody with block chords.

演奏块和弦伴奏的主要好处是它很容易——无论如何,对你来说。缺点是它的伴奏相当稀疏;除了为旋律提供最基本的和声基础之外,它实际上并没有给音乐添加任何东西。

The primary benefit of playing a block chord accompaniment is that it’s easy—for you, anyway. The drawback is that it’s a rather sparse accompaniment; it really doesn’t add anything to the music, except to provide the most basic harmonic underpinning to the melody.

不过,如果您只能掌握块和弦,那么您应该演奏这些和弦。没有人会指责你妨碍或掩盖旋律!

Still, if block chords are all you can master, that’s what you should play. No one will ever accuse you of getting in the way or covering up the melody!

节奏伴奏

Rhythmic Accompaniment

还有另一种弹奏和弦的方法,它不像块和弦方法那么无聊。您可以演奏块和弦,但具有更有趣的节奏模式。

There’s another way to play chords that isn’t quite as boring as the block-chord approach. You play the block chords, but with a more interesting rhythmic pattern.

我所说的是什么样的模式?有多种可供您选择,包括:

What kind of pattern am I talking about? There are several you can choose from, including these:

四分音符的节奏伴奏。

Rhythmic accompaniment in quarter notes.

带有切分节奏的节奏伴奏。

Rhythmic accompaniment with a syncopated rhythm.

带有切分音四分音符节奏的节奏伴奏——有点拉丁的感觉。

Rhythmic accompaniment with a syncopated dotted quarter note rhythm—kind of a Latin feel.

您甚至可以通过在第一拍和第三拍上演奏左手(低音),在第二拍和第四拍上演奏右手(和弦)来稍微打乱节奏,如下所示:

You can even break up the rhythm slightly by playing your left hand (the bass) on beats one and three, and your right hand (the chords) on two and four, like this:

在底拍上演奏和弦。

Playing the chords on the backbeat.

或者,如果您想要更活泼的声音,请在每个节拍上弹奏低音,在每个强拍(加上一个强拍)上弹奏和弦作为八分音符,如下所示:

Or, if you want a more lively sound, play the bass on each beat and the chords as eighth notes on each upbeat (plus the downbeat of one), like this:

弹奏欢快的和弦。

Playing the chords on the upbeat.

这种方法的好处是它为歌曲提供了驱动脉冲。缺点是你必须选择正确的脉搏类型,这需要你有一定的节奏感。

The benefit of this approach is that it provides a driving pulse for the song. The drawback is that you have to pick the right kind of pulse, which requires you to have some sense of rhythm.

如果您没有任何自然节奏,您可能需要坚持使用块和弦。

If you don’t have any natural rhythm, you might want to stick to block chords.

琶音伴奏

Arpeggiated Accompaniment

如果您正在演奏一首较慢的歌曲,您可能需要分解和弦并按顺序演奏各个音符,例如琶音。您可以通过在两个节拍上演奏直八分音符来创建简单的琶音 伴奏,其中和弦的根音在第一节拍上,和弦的第三节在第一节拍上,第五节在第二节上,第三节(再次)在节拍上。第二个乐观。(琶音伴奏通常称为分解和弦伴奏,因为您将和弦分开并单独演奏每个音符。)

If you’re playing a slower song, you might want to break up the chords and play the individual notes in a sequence, like an arpeggio. You can create a simple arpeggiated accompaniment by playing straight eighth notes over two beats, with the root of the chord on beat one, the third of the chord on the first upbeat, the fifth on beat two, and the third (again) on the second upbeat. (An arpeggiated accompaniment is often called a broken chord accompaniment because you break the chord apart and play each note separately.)

写出来,它看起来像这样:

Written out, it looks something like this:

演奏琶音伴奏。

Playing an arpeggiated accompaniment.

您可以通过改变和弦音的顺序、改变节奏,甚至添加传递音符来改变这种伴奏,如下所示:

You can vary this accompaniment by changing up the order of the chord tones, varying the rhythm, or even adding passing notes, like this:

除了主和弦音之外还带有过渡音的琶音伴奏。

An arpeggiated accompaniment with passing tones in addition to the main chord tones.

如果您确保在低音中弹奏和弦的根音,那么您就可以快速轻松地伴奏所有类型的音乐。

If you make sure you play the root of the chord in the bass, you have a quick and easy accompaniment for all types of music.

移动贝斯

Moving Bass

一旦您擅长这些简单的伴奏类型,您就可以通过演奏更复杂的低音部分来增添趣味。

Once you get good at these simple types of accompaniment, you can spice things up by playing a more complex bass part.

到目前为止,您所要做的就是用左手及时弹奏和弦的根音!然而,如果你听流行音乐时代的任何歌曲,从甲壳虫乐队和摩城音乐开始,你会听到更多的低音而不仅仅是根音。这是因为 60 年代的低音吉他手加大了赌注,开始演奏一些非常有趣的低音部分。

So far, all you have to do is play the root of the chord—in time!—with your left hand. However, if you listen to just about any song from the pop era, starting with the Beatles and the Motown sound, you’ll hear a lot more in the bass than just the root. That’s because bass guitarists in the ’60s upped the ante and started playing some really interesting bass parts.

笔记

NOTE

伟大的摩城贝斯手詹姆斯·贾默森 (James Jamerson) 是这种新型贝斯演奏的先驱之一。有史以来最有影响力的低音部分之一是四顶乐队的热门歌曲“Bernadette”,这是 James Jamerson 的巅峰之作。

James Jamerson, the great Motown bassist, was one of the pioneers of this new style of bass playing. One of the most influential bass parts ever recorded was on the Four Tops’ hit “Bernadette”—which is James Jamerson at the top of his form.

如果您想在钢琴伴奏中添加更多低音,请首先在连续和弦的根音之间添加传递音,如下所示:

If you want to add more bass to your piano accompaniments, start by adding passing tones between the root notes of consecutive chords, like this:

在低音中传递音符。

Passing notes in the bass.

你也不局限于低音的根音。许多低音部分通过停在第三或第五和弦而不是根音上来提供兴趣。如果你扩展这个概念,你最终会得到一个行走的低音线,就像在很多爵士乐中发现的那样。行走低音线超越了简单的传递音调,通过音阶上下“行走”,如下所示:

You’re not limited to the root in the bass, either. Many bass parts provide interest by stopping on the third or the fifth of the chord, instead of on the root. If you expand on this concept you end up with a walking bass line, such as that found in a lot of jazz music. A walking bass line goes beyond simple passing tones by “walking” up and down the scale, like this:

行走的低音线。

A walking bass line.

当您发展伴奏技巧时,您可以通过多种不同的方式详细阐述低音或和弦。只要记住听这首歌并演奏合适的部分即可。

As you develop your accompanying skills, you can elaborate on the bass or the chords in lots of different ways. Just remember to listen to the song and play a part that’s appropriate.

一次好的弹奏值得另一次弹奏

One Good Strum Deserves Another

当然,钢琴并不是唯一的伴奏乐器。如果您弹吉他,您必须面对许多与钢琴演奏者在被要求为他人伴奏时所面临的相同挑战。

Pianos aren’t the only accompanying instruments, of course. If you play guitar, you have to face many of the same challenges a piano player does when asked to provide accompaniment to others.

当然,这些挑战的首要任务是弄清楚要演奏什么和弦——你现在知道,这在你的掌握之中。您所要做的就是使用您之前在本书中学到的技能。

Chief of these challenges, of course, is figuring out what chords to play—which, you now know, is within your grasp. All you have to do is use the skills you learned previously in this book.

一旦你弄清楚了和弦,你就必须演奏它们。在大多数情况下,您可以通过简单的弹奏来完成。您可以在每个小节的第一个节拍上扫弦,您可以在每个节拍上扫弦,您可以在第二个和第四个节拍上扫弦,或者您可以以更复杂的节奏进行扫弦。根据歌曲的不同,您甚至可以通过以琶音模式一次弹奏一根弦来分解和弦。重要的是用你的耳朵来演奏适合音乐的东西。

Once you’ve figured out the chords, you have to play them. In most instances, you can get by with simple strumming. You can strum on the first beat of every measure, you can strum on every beat, you can strum a backbeat on two and four, or you can strum in a more complex rhythm. Depending on the song, you can even break up the chords by playing one string at a time in an arpeggiated pattern. The important thing is to use your ears and play what fits the music.

并确保您跟上变化!

And make sure you keep up with the changes!

练习

Exercises

练习13-1

Exercise 13-1

根据以下主奏表演奏块和弦伴奏。

Play a block-chord accompaniment based on the following lead sheet.

练习13-2

Exercise 13-2

根据以下主奏乐谱演奏有节奏的伴奏。

Play a rhythmic accompaniment based on the following lead sheet.

练习13-3

Exercise 13-3

根据以下主奏谱演奏琶音伴奏。

Play an arpeggiated accompaniment based on the following lead sheet.

练习13-4

Exercise 13-4

根据以下主奏表,用移动的低音声部演奏伴奏。

Play an accompaniment with a moving bass part, based on the following lead sheet.

您至少需要知道的

The Least You Need to Know

  • 如果您有一张带有和弦记谱的主奏表,请按所写的方式弹奏和弦。
  • If you’re given a lead sheet with chord notation, play the chords as written.
  • 如果给你一张没有标注和弦的旋律表——或者根本没有音乐——你必须在演奏之前弄清楚和弦。
  • If you’re given a melody sheet with no chords noted—or no music at all—you have to figure out the chords before you play.
  • 为其他音乐家伴奏时,用右手弹奏和弦,用左手弹奏和弦的根音。
  • When accompanying other musicians, play the chord with your right hand and the root of the chord with your left.
  • 您可以演奏多种不同类型的伴奏——块和弦、简单节奏、分解和弦等等——具体取决于歌曲本身的情绪和节奏。
  • You can play many different types of accompaniment—block chords, simple rhythms, broken chords, and so on—depending on the mood and tempo of the song itself.
  • 在演奏一首新歌曲之前,请确保勾勒出歌曲的形式(主歌、副歌等),这样您就不会在中间迷失方向。
  • Before you play a new song, make sure you sketch out the form of the song (verse, chorus, and so forth) so that you don’t get lost in the middle of things.

第14

CHAPTER

14

移调至其他调

Transposing to Other Keys

在这一章当中

In This Chapter

  • 了解转置
  • Understanding transposition
  • 发现何时需要移调歌曲
  • Discovering when you need to transpose a song
  • 学习不同的换位方法
  • Learning different methods of transposition
  • 使用计算机乐谱程序自动转调您的歌曲
  • Using computerized music notation programs to transpose your songs automatically

当女歌手向您走来时,您正坐在舞台上的钢琴前,准备弹奏下一首曲子。

You’re sitting at your piano, on stage, ready to play the next tune, when the female vocalist walks over to you.

“这首歌对我来说 B♭ 音有点高,”她说。“把它带到A处。”

“This song’s a little high for me in B♭,” she says. “Take it down to A.”

啊?

Huh?

或者,也许您刚刚开始弹吉他,还不知道所有和弦,并且刚刚获得了您最喜欢的一首歌曲的乐谱。当你发现这首歌是 G♭ 调时,你脸色煞白。降G!谁演奏降G调?你不知道降 G 调中的任何和弦——一个都不会!

Or maybe you’re just starting to play guitar, don’t know all the chords yet, and just got the sheet music for one of your favorite songs. You blanch when you discover that the song is in the key of G♭. G-flat! Who plays in G-flat? You don’t know any chords in G-flat—not a one!

但你确实知道 G 的所有和弦;也许有办法将歌曲从 G♭ 更改为 G。

But you do know all your chords in G; maybe there’s a way to change the song from G♭ to G.

也许您正在为教堂唱诗班安排一首圣诞颂歌,并由独奏小号伴奏。你把小号手的部分交给小号手,他会演奏你认为应该是C的部分,但根据你钢琴上的音符,它却变成了B♭。

Perhaps you’re arranging a Christmas carol for your church choir, which will be accompanied by a solo trumpet. You hand the trumpet player his part, he plays what you thought was supposed to be a C, but it comes out as a B♭ instead, according to the notes on your piano.

是什么赋予了?

What gives?

所有这三个示例都是您需要知道如何将一首音乐从一个调调到另一个调的情况——这就是本章的主题。

All three of these examples are situations in which you need to know how to transpose a piece of music from one key to another—which is what this chapter is all about.

移动你的笔记

Move Your Notes Around

变调是将音符或和弦从一个调转换为另一个调的艺术。这实际上是一个数学练习——这个调中的这个音符等于那个调中的那个音符。当您移调音符、旋律或和弦时,您可以从一个调上获取它​​,然后用另一个调演奏等效的音符、旋律或和弦。

Transposition is the art of translating a note or chord from one key to another. It’s really a math exercise—this note in this key equals that note in that key. When you transpose a note or a melody or a chord, you take it from one key, and instead play the equivalent note, melody, or chord in another key.

例如,假设您正在演奏 C 调的音符 C(该调的主音)。当您将该音符移调至 F 调时,您现在弹奏的是 F——这是 F 调的主音。

For example, let’s say you’re playing the note C in the key of C—the key’s tonic note. When you transpose that note to the key of F, you now play an F—which is the tonic note for the key of F.

听起来很容易,不是吗?

Sounds easy enough, doesn’t it?

让我们看一个更复杂的例子:假设您使用 C 调,并且演奏从 C 到 D 到 E 的旋律(C 大调音阶的前三个音符)。当您将该旋律移调至 F 调时,新音符(F 大调音阶的前三个音符)为 F、G、A。

Let’s look at a more complex example: say you’re in the key of C and you play a melody that moves from C to D to E—the first three notes of the C Major scale. When you transpose that melody to the key of F, the new notes (the first three notes of the F Major scale) are F, G, A.

掌握窍门了吗?

Getting the hang of it yet?

这是另一个例子:假设您处于 C 调,并且正在演奏 I-vi-IV-V 和弦进行 — C-Am-FG。当您将该和弦进行移调为 F 调时,新和弦为 F-Dm-B♭-C。仍然是 I-vi-IV-V;只是用不同的键。

Here’s another example: say you’re in the key of C, and you’re playing the I-vi-IV-V chord progression—C-Am-F-G. When you transpose that chord progression into the key of F, the new chords are F-Dm-B♭-C. It’s still I-vi-IV-V; just in a different key.

您可以从任何一个调移调到任何其他调。这意味着您可以将音符从开始位置向上或向下移动半音到大七度。(您还可以将音符向上或向下移动整个八度音阶 - 这称为八度音阶换位- 但您实际上并没有改变任何音符;您只是改变八度音阶。)

You can transpose from any one key to any other key. That means you could move the notes anywhere from a half step to a major seventh up or down from where you started. (You also can move notes up or down by whole octaves—what is called octave transposition—but you’re really not altering any notes; you’re just changing octaves.)

为什么需要转置

Why You Need to Transpose

正如您在本章的简介中所看到的,您可能需要对歌曲进行移调的原因有很多。以下是一些最常见的:

As you saw in the introduction to this chapter, there are many different reasons you might need to transpose a song. Here are some of the most common:

  • 这首歌,正如所写的那样,超出了歌手或乐器演奏家的能力范围。如果歌手不能唱出 C 调的高音,也许 B 或 B♭ 调,甚至 A 调可能更友好。
  • The song, as written, is out of the range of a vocalist or instrumentalist. If a singer can’t hit the high notes in the key of C, maybe the key of B or B♭, or even A might be friendlier.
  • 您或其他音乐家不知道如何以给定的调演奏歌曲。对于业余吉他手来说,这尤其是一个问题,他们并不总是知道一些更极端的降调或升调的和弦,但他们确实知道 G、A、C 和 E 的和弦。如果您可以将歌曲移调为一首在这些关键中,每个人都可以发挥自己的作用。(对于任何必须处理调号中的大量升号和降号的乐器,您都会遇到同样的问题;用 C、G、D、F 和 B♭ 演奏比用其他乐器演奏更容易,更复杂的是按键。)
  • You or another musician don’t know how to play the song in the given key. This is especially a problem with casual guitarists who don’t always know the chords in some of the more extreme flat or sharp keys—but they do know the chords for G and A and C and E. If you can transpose the song to one of these keys, everyone can play their parts. (You have the same problem with any instrument that has to deal with a lot of sharps and flats in the key signature; it’s easier to play in C, G, D, F, and B♭ than it is to play in the other, more complex, keys.)
  • 您正在为许多不以我们所说的音乐会调演奏的乐器之一进行创作或编曲。例如,小号发出的声音总是比所写的低一个音,因此您必须将所有小号演奏者的音乐调高一个音阶,以便他们与其他音乐家使用相同的调。(因此,如果音乐会调是 C,则将小号声部写入 D;当小号演奏 D 时,它实际上听起来像音乐会 C。)这些乐器称为移调乐器,因为您必须为它们移调其声部。
  • You’re writing or arranging for one of the many instruments that don’t play in what we call concert key. For example, trumpets always sound one whole note lower than what is written—so you have to transpose all trumpet players’ music up a step so they’ll be in the same key as the other musicians. (So if the concert key is C, you write the trumpet part in D; when a trumpet plays a D, it actually sounds as concert C.) These instruments are called transposing instruments because you have to transpose their parts for them.

这些场景比您想象的更常见,这意味着您最好学会如何转置,而且要快!

These scenarios are more common than you’d think—which means you better learn how to transpose—and fast!

定义

DEFINITION

音乐会调音乐会音高是一首音乐的基本调,即演奏时发出的实际音高。钢琴始终处于协奏曲调。(许多乐器并不按协奏调演奏。请参阅第 20 章了解哪些乐器按哪些调演奏。)

Concert key or concert pitch is the underlying key of a piece of music—that is, the actual pitches that sound when played. The piano is always in concert key. (Many instruments do not play in concert key. See Chapter 20 to learn which instruments play in what keys.)

四种移调方法

Four Ways to Transpose

当您必须将一首歌曲从一个调移调到另一个调时,有四种方法可以实现。你可以 …

When you have to transpose a song from one key to another, there are four ways to go about it. You can …

  • 运用您的数学技能,手动将每个音符向上或向下移动所需的半音数量。
  • Put your math skills to work and manually move each note up or down the required number of half steps.
  • 将您的音乐理论技能运用到工作中并利用程度罗马数字符号。
  • Put your music theory skills to work and utilize degree-wise Roman numeral notation.
  • 再次使用您的音乐理论技能,并根据前一个音符的音程机械地移调每个音符。
  • Use your music theory skills again and mechanically transpose each note based on the interval from the previous note.
  • 将技术运用到工作中,让计算机化的乐谱程序为您完成这项工作。
  • Put technology to work and let a computerized music notation program do the job for you.

逐步换位

Step-Wise Transposition

逐步移调是编曲和作曲领域的繁重工作。在此方法中,您计算​​第一个键和第二个键之间的半音,然后将每个音符和和弦向上或向下移动所需的步数。

Step-wise transposition is the grunt work of the arranging and composing world. In this method, you count the half steps between the first key and the second, and then move each note and chord up or down the necessary number of steps.

例如,假设您有以下 D 调旋律:

For example, let’s say you have the following melody in the key of D:

你原来的旋律,D调。

Your original melody, in the key of D.

你需要把这段旋律移调到F调。当你数数的时候,你会发现F比D高三个半音。所以你必须将所有和弦和音符向上移动三个半音。

You need to transpose this melody to the key of F. When you do the counting, you find that F is three half steps above D. So you have to move all the chords and notes up three half steps.

首先将调号从 D(两个升号)更改为 F(一个降号)。然后将旋律向上移动三个半音,一次一个音符,如下所示:

Start by changing the key signature from D (two sharps) to F (one flat). Then move the melody up three half steps, one note at a time, like this:

1. 选取旋律的第一个音符 - A。如果将此音符向上移动三个半音,它会变成 C。

1. Take the first note of the melody—an A. If you move this note up three half steps, it becomes a C.

2. 移动到旋律的第二个音符 - B。如果将此音符向上移动三个半音,它会变成 D。

2. Move to the second note of the melody—a B. If you move this note up three half steps, it becomes a D.

3. 移至旋律的第三个音符——C♯。如果将此音符向上移动三个半音,它就会变成 E。

3. Move to the third note of the melody—a C♯. If you move this note up three half steps, it becomes an E.

等等等等。你对和弦做同样的事情:

And so on, and so on. You do the same thing with the chords:

1.第一个和弦是D大调。如果将此和弦向上移动三个半音,它就成为 F 大调和弦。

1. The first chord is D Major. If you move this chord up three half steps, it becomes an F Major chord.

2. 第二和弦是G大调。如果将此和弦向上移动三个半音,它就成为 B♭ 大调和弦。

2. The second chord is a G Major. If you move this chord up three half steps, it becomes a B♭ Major chord.

当你完成所有音符和和弦的移调后,你会得到:

When you get done transposing all the notes and chords, you get this:

同样的旋律,调换成F调。

The same melody, transposed to the key of F.

这是一项繁重的工作,这是肯定的,但它可以完成工作。

It’s grunt work, that’s for sure—but it gets the job done.

度数转置

Degree-Wise Transposition

如果您很好地阅读了本书,并相应地发展了您的音乐理论技能,那么您可以采用另一种方法进行变调。这种方法要求您将所有和弦和音符分解为基础音阶的程度;然后您可以将这些度数表示应用于新密钥。

If you’ve done a good job reading this book—and developing your music theory skills accordingly—there’s another approach you can take to transposition. This approach requires you to break all the chords and notes down to their degrees of the underlying scale; you can then apply those degree representations to the new key.

理解这种方法的最简单方法是查看和弦——在本例中,是我们之前的 D 调旋律中的和弦:

The easiest way to understand this approach is to look at chords—in this case, the chords from our previous key-of-D melody:

原始和弦进行,D 调。

The original chord progression, in the key of D.

为了让事情顺利进行,我们在每个和弦上方注明了和弦类型——I、IV、V 等等。在接下来的几分钟里,我们将严格使用这种度数符号,并忘记(暂时)原始和弦。

To get the ball rolling, we’ve noted the chord type above each chord—I, IV, V, and so forth. For the next few minutes, we’re going to work strictly with this degree notation and forget (for the time being) about the original chords.

仅以罗马数字表示的和弦进行。

The chord progression in Roman numerals only.

通过按罗马数字分解和弦进行,您可以写出新调中的每个和弦(在本例中为 F 调)。当您写出新和弦时,您会得到以下结果:

With the chord progression broken down by Roman numeral, you can write out each of the chords in your new key—in this case, the key of F. When you write out the new chords, you get this:

和弦进行转移到 F 调。

The chord progression transposed to the key of F.

瞧!您刚刚移调了整个和弦进行,并且无需计算任何半音即可完成此操作。

Voilà! You’ve just transposed the entire chord progression—and you didn’t have to count any half steps to do it.

提示

TIP

如果您不确定使用哪个和弦,请参阅第 10 章中的基于音阶的和弦表。

If you’re not sure which chords to use, refer to the Scale-Based Chords table in Chapter 10.

您可以将相同的技术应用于旋律中的音符。演奏原始的 D 调旋律,并将音阶(1、2、3 等)置于旋律的每个音符下方,如下所示:

You can apply this same technique to the notes in the melody. Work through the original key-of-D melody and put the degree of the scale (1, 2, 3, and so forth) under each note of the melody, like this:

标记原始旋律,在每个音符下方写下音阶的程度。

Marking up the original melody, write the degree of the scale under each note.

现在拿一张空白的乐谱,在 F 调上,在五线谱下方写下音阶。如果您填写每个音阶的实际音符,您最终会得到完整的旋律:

Now get a blank sheet of music paper and, in the key of F, write out the scale degrees below the staff. If you fill in the actual notes for each scale degree, you end up with the completed melody:

你的变调旋律,通过数字。

Your transposed melody, by the numbers.

这种方法对于旋律来说比对于和弦来说需要更多的工作,但它确实有效。

This method is a little more work for melodies than it is for chords, but it definitely works.

基于区间的转置

Interval-Based Transposition

在基于音程的变调中,您必须将第一个音符从一个调移调到另一个调,但随后您会忽略调的更改并完全使用新调进行工作。您可以通过记下旋律中每个音符之间的音程来做到这一点,然后使用这些音程即时“创作”移调的旋律。

In interval-based transposition, you have to transpose the first note from one key to another, but then you ignore the key change and work completely in the new key. You do this by noting the intervals between each note in the melody, and then using those intervals to “compose” the transposed melody on the fly.

让我们再次回到原来的旋律,记下旋律中每个音符之间的音程,如下所示:

Let’s turn again to our original melody, and note the intervals between each note in the melody, like this:

原始旋律,标有音程。

The original melody, marked up with intervals.

现在,您开始用新调创作“新”旋律。新调中的第一个音符(您必须手动算出)是 C,该音符和第二个音符之间的音程是大二度,这使得第二个音符是 D。下一个音程是另一个大二度,这使得下一个音符成为 E。下一个音程是大二度,这使得下一个音符成为 D。依此类推,直到完成。

Now, you start composing your “new” melody in the new key. The first note in the new key (which you have to manually figure out) is a C, and the interval between that note and the second note is a major second—which makes the second note a D. The next interval is another major second, which makes the next note an E. The next interval is a major second down, which makes the next note a D. And so on, until you’re done.

一次将旋律移调一个音程。

Transposing your melody one interval at a time.

当您移调和弦时,此方法效果不佳,因为它无法告诉您接下来会出现什么类型的和弦 - 大调、小调或其他。我想你可以通过记录原始版本中的和弦类型来增强这种基于音程的方法,但这有点复杂;有更简单的方法来转调和弦进行。

This method doesn’t work as well when you’re transposing chords, because it doesn’t tell you what type of chord comes next—major, minor, or other. I suppose you could augment this interval-based approach by noting the chord type from the original version, but that gets a tad complex; there are easier ways to transpose chord progressions.

基于软件的转置

Software-Based Transposition

得益于现代计算机技术,您也许能够完全避免手动换位。几乎所有计算机化的乐谱程序,例如 Finale 和 Sibelius,都可以让您以音乐会调输入音乐;您所要做的就是单击一个按钮或选择一个菜单项,即可自动将一个或多个五线谱移调到另一个调。

Thanks to modern computer technology, you may be able to avoid manual transposition completely. Almost all computerized music notation programs, such as Finale and Sibelius, let you enter your music in concert key; all you have to do is click a button or select a menu item to automatically transpose one or more staves to another key.

例如,Finale 程序有一个下拉菜单选项,可让您确定给定部分是用音乐会调还是乐器的本机调来标注。根据您选择的选项,您的乐谱可以显示音乐会调中的所有乐器,或每种乐器的特定调。此选项的好处是,您可以在协奏曲调中进行原始作曲,然后在完成编写后自动将各个部分移调到自己的调上,这比在作曲时尝试手动移调所有部分更容易。

For example, the Finale program has a drop-down menu option that lets you determine whether a given part is noted in concert key or the instrument’s native key. Depending on the option you select, your score can show all instruments in concert key, or the specific keys for each instrument. The nice thing about this option is that you can do your original composing in concert key and then automatically transpose the parts to their own keys when you’re done writing—which is easier than trying to manually transpose all the parts while you’re composing.

Finale 还允许您将某个声部从任何一个调移调到任何其他调,只需在对话框中选择几个选项即可。当您想要更改调时,您可以指示程序根据需要将原始音符向上或向下移调,或保持其原始音高。这比尝试自己移调每个部分要容易得多!(在第 21 章中了解有关乐谱程序的更多信息。)

Finale also lets you transpose a part from any one key to any other key, just by selecting a few options in a dialog box. When you want to change keys, you can instruct the program to transpose the original notes up or down, as appropriate, or hold to their original pitches. It’s a lot easier than trying to transpose each part on your own! (Learn more about music notation programs in Chapter 21.)

Finale 的调号对话框;“变调选项”部分允许您在更改调性时变调音符和将音符保持在原始音高之间进行选择。

Finale’s Key Signature dialog box; the Transposition Options section lets you choose between transposing the notes when you change keys and holding the notes to their original pitches.

练习

Exercises

练习14-1

Exercise 14-1

使用基于步骤的方法将这段旋律从 F 调移调到 G 调。(注意从降号到升号的变化!)

Use the step-based method to transpose this melody from the key of F to the key of G. (Watch the change from flats to sharps!)

练习14-2

Exercise 14-2

使用基于度数的方法将该和弦进行从 A♭ 调移调至 E 调。

Use the degree-based method to transpose this chord progression from the key of A♭ to the key of E.

练习14-3

Exercise 14-3

使用基于音程的方法将该旋律从 B♭ 调移调到 A 调。

Use the interval-based method to transpose this melody from the key of B♭ to the key of A.

练习14-4

Exercise 14-4

使用任何你喜欢的方法将以下和弦和旋律从 C 调移调到 E 调。

Use whatever method you like to transpose the following chords and melody from the key of C to the key of E.

您至少需要知道的

The Least You Need to Know

  • 变调是将音符和和弦从一个调移动到另一个调的艺术。
  • Transposition is the art of moving notes and chords from one key to another.
  • 当歌手要求以不同的调演奏歌曲时,您或其他音乐家无法以原始调演奏,或者您正在创作或编曲不以音乐会调演奏的乐器,您需要学习变调。
  • You need to learn transposition for those times when a singer requests a song in a different key, you or other musicians can’t play in the original key, or you’re composing or arranging for instruments that don’t play in concert key.
  • 您可以通过计算从一个调到另一个调的半音、记下原始旋律和和弦的音阶或使用旋律音符之间的音程来转调旋律。
  • You can transpose a melody by counting the half steps from one key to another, noting the scale degrees of the original melody and chords, or using the intervals between the notes of the melody.
  • 许多计算机化的乐谱程序只需点击鼠标即可自动为您移调音乐。
  • Many computerized music notation programs will automatically transpose your music for you with the click of a mouse.

第5部分

PART

5

点缀

Embellishing

第 5 部分教您如何用丰富的和声和有趣的对位来充实您的音乐,以及如何通过花哨的和弦替换使曲调变得爵士乐。作为奖励,我分享了一个带有更复杂的符号的章节!

Part 5 teaches you how to fill out your music with lush harmonies and interesting counterpoint as well as how to jazz up a tune with fancy chord substitutions. As a bonus, I share a chapter with more fiddly notation marks!

第15

CHAPTER

15

和声与对位

Harmony and Counterpoint

在这一章当中

In This Chapter

  • 了解和声与对位法之间的差异和相似之处
  • Understanding the differences—and similarities—between harmony and counterpoint
  • 创造令人愉悦的背景和声
  • Creating pleasing background harmonies
  • 使用不同的和弦发声
  • Using different chord voicings
  • 创作有趣的两部分对位法
  • Composing interesting two-part counterpoint
  • 学习有效的语音引导技术
  • Learning effective voice-leading technique

一首歌不必只是旋律和和弦。想想一位民谣歌手和她的吉他,或者一位小提琴独奏家与钢琴伴奏。旋律和和弦就是您所需要的。然而,当你打开收音机时,你听不到很多独唱民谣歌手的声音。您通常听到的是完整的编曲,包括键盘、贝斯和鼓、背景人声和其他类型的乐器伴奏。

A song doesn’t have to be anything more than a melody and chords. Think of a folk singer and her guitar, or a solo violinist accompanied by piano. Melody and chords are all you need. However, when you turn on the radio you don’t hear a lot of solo folk singers. What you typically hear is a full arrangement, complete with keyboards and bass and drums, background vocals, and other types of instrumental backing.

当然,这些背景人声和乐器只不过是演奏歌曲和弦进行中的音符。但它们也有助于充实声音并使乐曲更加有趣。

Of course, these background vocals and instruments are doing nothing more than playing the notes in the song’s chord progression. But they also help to fill out the sound and make the piece of music more interesting.

要填充歌曲,您需要添加和声部分。这些和声部分可以是声乐部分,也可以是器乐部分,并且可以有任意数量。他们所做的很简单:他们遵循底层和弦进行中的单独线条,从而支撑歌曲的和声结构。

To fill out your songs, you need to add harmony parts. These harmony parts can be either vocal or instrumental, and there can be any number of them. What they do is simple: they follow separate lines within the underlying chord progression, thus buttressing the harmonic structure of the song.

如果您想真正变得花哨,您的伴奏部分可以在与原始旋律演奏时代表新的且对比鲜明的旋律。当你创造这种复杂的和声时,它被称为对位法;它广泛应用于多种形式的古典音乐中。

If you want to get really fancy, your backing parts can represent new and contrasting melodies when played against your original melody. When you create this type of complex harmony, it’s called counterpoint; it’s widely used in many forms of classical music.

笔记

NOTE

本章从流行音乐的角度介绍和声与对位法。古典音乐家对这些概念有非常不同且更正式的看法。

This chapter presents harmony and counterpoint from a popular music perspective. Classical musicians have a much different—and more formal—take on these concepts.

增强旋律的两种方法

Two Ways to Enhance a Melody

两个音符一起响起就形成和声音程;三个或三个以上的音符同时响起构成和弦;两个或两个以上的旋律一起响起就构成了对位法。音程和和弦用于构建和声;对位法以单独的旋律线形式存在。

Two notes sounded together make a harmonic interval; three or more notes sounded together make a chord; and two or more melodies sounded together make counterpoint. Intervals and chords are used to construct harmony; counterpoint exists as separate melodic lines.

另一种思考方式是,和声是音符的垂直(上下)组合,而对位法是水平(左右)运作。

Another way to think of it is that harmony is a vertical (up and down) combination of notes, whereas counterpoint operates horizontally (side to side).

和谐是垂直的。

Harmony is vertical.

对位是水平的。

Counterpoint is horizontal.

实际上,和声与对位法是相关的概念;两者都涉及音符的“垂直”组合,并且都涉及单个声音或乐器的“水平”运动。尽管如此,和声更多的是关于歌唱或演奏和弦的各个部分。对位法更多的是创造第二(或第三或第四)旋律线——尽管它遵循底层的和声结构。

In reality, harmony and counterpoint are related concepts; both involve “vertical” combinations of notes and both involve a “horizontal” movement of individual voices or instruments. Still, harmony is more about singing or playing parts of a chord; counterpoint is more about creating a second (or third or fourth) melody line—albeit one that adheres to the underlying harmonic structure.

笔记

NOTE

从技术上讲,和声的研究包括和弦和和弦进行——基本上,任何同时组合两个或多个音符的东西。因为我们已经在第 9 章和第 10 章中介绍了这一基本材料,所以在本章中,我们将根据一段音乐的基本和声结构(和弦进行),介绍如何使用多种声部或乐器来增强旋律。

Technically, the study of harmony includes chords and chord progressions—basically, anything that combines two or more notes simultaneously. Because we already covered this basic material in Chapters 9 and 10, in this chapter we’re covering the use of multiple voices or instruments to enhance melodies, based on the underlying harmonic structure (chord progression) of a piece of music.

和谐生活

Living in Harmony

和声就像在旋律后面演奏和弦,但使用其他乐器或声音。事实上,在旋律中添加和弦的艺术是一种和声练习。我们在音乐中添加和声部分,因为和声使歌曲变得丰富。它填充了单个旋律线并强化了底层的和弦结构。

Harmony is like playing chords behind a melody, but using other instruments or voices. In fact, the art of adding chords to a melody is a harmonic exercise. We add harmony parts to our music because harmony lends richness to a song. It fills out a single melody line and reinforces the underlying chord structure.

带有伴奏和声的旋律是独唱和合唱之间的区别。这就是拥有原声吉他的民谣歌手和拥有一群伴唱的流行歌手之间的区别。这就是爵士三重奏和大乐队之间的区别。换句话说,和声使音乐更加宏大。

A melody with backing harmonies is the difference between a solo vocalist and a full chorus. It’s the difference between a folk singer with an acoustic guitar and a pop singer with a group of backup vocalists. It’s the difference between a jazz trio and a big band. In other words, harmony makes music bigger.

您可以使用底层和弦进行中的音符来创建和声声部。如果您所做的只是将和弦的特定音符分配给特定的乐器或声音,那么您就已经创建了和声。它不一定比这更难。和声部分,无论是声乐部分还是器乐部分,通常在节奏上不如主旋律复杂。当旋律保持更复杂的节奏时,发现和声部分由全音符或半音符组成的情况并不罕见。

You create harmony parts by using the notes in the underlying chord progression. If all you do is assign specific notes of a chord to specific instruments or voices, you’ve created harmony. It doesn’t have to be any harder than that. Harmony parts, whether vocal or instrumental, are typically less rhythmically complex than the main melody. It’s not uncommon to find harmony parts consisting of whole notes or half notes while the melody maintains a more complex rhythm.

和声部分也可以反映旋律的节奏;在这些情况下,和声类似于经典的对位法——您将在本章后面了解这一点。和声还可以用来给旋律加标点,填补旋律中的中断,并起到一种呼叫和响应机制的作用。(想想经典的流行歌曲“前往佐治亚的午夜列车”;Gladys Knight 是召唤,Pips 是响应——呜呜!)

Harmony parts can also mirror the rhythm of the melody; in these instances, the harmony resembles classical counterpoint—which you’ll learn about later in this chapter. Harmony can also be used to punctuate the melody, fill in breaks in the melody, and function as a kind of call-and-response mechanism. (Think of the classic pop tune “Midnight Train to Georgia”; Gladys Knight is the call and the Pips are the response—woo woo!)

就和声复杂性而言,您可以拥有从单个伴奏声音到带有两个、三个或更多声音的合唱和弦乐部分的一切。您拥有的声音越多,在不加倍或重复其他部分的情况下创建独特的和声部分就越具有挑战性。当然,写一个和声部分也很有挑战性,但方式不同;该单个部分必须包含正确的音符,暗示潜在的和弦而不分散对主旋律的注意力。

In terms of harmonic complexity, you can have everything from a single accompanying voice to choruses and string sections with two and three and more voices. The more voices you have, the more challenging it is to create distinct harmony parts without doubling or duplicating other parts. Of course, writing a single harmony part is also challenging, but in a different way; that single part has to include just the right notes, suggesting the underlying chord without distracting from the main melody.

为了学习基础理论,我们将专注于简单的两声部和三声部和声,没有太多的节奏或旋律复杂性。一旦掌握了这种基本的和声,您就可以扩展到包括更复杂类型的声乐和乐器伴奏。

For the purposes of learning basic theory, we’re going to concentrate on simple two- and three-part backing harmony, without a lot of rhythmic or melodic complexity. Once you master this type of rudimental harmony, you can expand to include more complex types of vocal and instrumental backing.

发声和转位

Voicing and Inversions

和弦的音符顺序(从上到下)称为和弦发声。(它也称为和弦转位,正如您在第 9 章中学到的那样。)当您编写和声声部时,发声非常重要,因为您必须采用不同的发声来避免声部之间的平行运动。

The order of the notes of a chord (top to bottom) is referred to as the chord voicing. (It’s also called the chord inversion, as you learned in Chapter 9.) Voicing is very important when you’re writing harmony parts, because you have to employ different voicings to avoid parallel motion between parts.

让我们考虑一下您作为钢琴伴奏演奏的和声。如果您还记得,我们在第 13 章中使用了以下和弦进行作为示例:

Let’s consider the harmony you play as piano accompaniment. If you recall, we used the following chord progression as an example back in Chapter 13:

需要协调的常见和弦进行。

A common chord progression that needs harmonized.

正如第 13 章中所学到的,这个和弦进行的简单块和弦钢琴伴奏(仅限右手)看起来像这样:

As learned back in Chapter 13, a simple block-chord piano accompaniment (right hand only) to this chord progression looks something like this:

简单的块和弦和声。

Simple block-chord harmonies.

作为伴奏演奏的三和弦代表三声部和声;你只是碰巧用一只手演奏所有三个声音。所有和弦都是 1-3-5 的根音(非转位)形式——这代表了一个问题。当您从一个和弦切换到另一个和弦时,所有和声音符彼此平行移动。就声音引导而言,这常常令人不悦。

The triads you play as accompaniment represent three-voice harmony; you just happen to play all three voices with one hand. All the chords are in the root (noninverted) form of 1-3-5—which represents a problem. When you change from chord to chord, all the harmony notes move in parallel to each other. In terms of voice leading, this is often frowned upon.

这也很无聊。

It’s also boring.

您可以通过分离该和弦伴奏的最高音来证明这一点。现在,像唱伴唱一样唱出连续的高音:

You can prove this by isolating the top note of this chord accompaniment. Now sing the succession of top notes as if you were singing backup vocals:

隔离 I-vi-IV-V 和弦进行中的最高声部。

Isolating the top voice in the I-vi-IV-V chord progression.

就像我说的,相当无聊——而且旋律也不是特别好。更好的方法是改变和弦的发声,这样和声部分就不必平行移动。例如,您可以将 C 和弦保留在其正常根音位置,但将 Am 更改为第一个转位(CEA),第二个反演的 F (CFA),以及第一次反演的 G (BDG),如下所示:

Like I said, pretty boring—and not particularly melodic, either. A better approach is to vary the voicings of the chords so the harmony parts don’t have to move in parallel. For example, you might keep the C chord in its normal root position but change the Am to the first inversion (C-E-A), the F to the second inversion (C-F-A), and the G to the first inversion (B-D-G), like this:

反转和弦以改变内部发声。

Inverting the chords to vary the internal voicings.

提示

TIP

根音位置、第一次转位、第二次转位的连续性相当常见,您可以将其应用于任意数量的和弦进行。(也常见的是第一次反转、第二次反转、根位置的连续。)

The succession of root position, first inversion, second inversion is fairly common—and one you can apply to any number of chord progressions. (Also common is the succession of first inversion, second inversion, root position.)

这不仅使和弦进行更容易演奏(所有音符在键盘上更紧密地结合在一起),而且还使任何单独的部分更容易唱歌。再次选取前调部分;它不再像原来那样移动 GECD,而是移动 GAAG,如下所示:

Not only does this make the chord progression easier to play (all the notes are closer together on the keyboard) it also makes any individual part easier to sing. Take the top note part again; instead of moving G-E-C-D as it did originally, it now moves G-A-A-G, like this:

新的顶级声音和声部分,得益于和弦的重读。

The new top voice harmony part, thanks to revoicing the chords.

现在声音已经相当一致了;它不会像以前那样到处乱跳。如果你检查一下其他声音,你会发现它们也更容易唱。(中间的声音移动 EEFD,底部的声音移动 CCCB。)

Now the voice is fairly consistent; it doesn’t jump all over the place like it did before. And if you check out the other voices, you find that they’re also a lot more singable. (The middle voice moves E-E-F-D, and the bottom voice moves C-C-C-B.)

当您分别写出每个部分时,您将使用三个不同的五线谱,如下所示:

When you write out each of these parts separately, you use three different staves, like this:

三声部和声——在三个不同的五线谱上。

Three-voice harmony—on three different staves.

这些原则适用于您演奏钢琴伴奏时;当您编写声乐或器乐和声时,它们也适用。如果你改变声音,你就可以为哪个声音去哪里提供很多可能性。

These principles apply when you’re playing piano accompaniment; they also apply when you’re writing vocal or instrumental harmonies. If you vary the voicings, you open up a lot of possibilities as far as which voice goes where.

提示

TIP

将和弦进行视为一组同时出现的旋律是有帮助的。这将帮助您创建可演唱的和声声部,而不是仅对应于底层和弦结构中的音符的声部。

It’s helpful to think of a chord progression as nothing more than a group of simultaneous melodies. This will help you create singable harmony parts, as opposed to parts that correspond only to notes within the underlying chord structure.

使和声部分更加旋律化

Making Harmony Parts More Melodic

当然,您并不局限于让您的声音遵循严格的和弦模式。如果我们开始在两个不同的声音之间交换和声的前两个音符会怎么样?有很多方法可以做到这一点,但其中一种听起来特别好听的方法如下:

Of course, you’re not limited to having your voices follow the strict chord pattern. What if we start swapping the top two notes of our harmony between two different voices? There are lots of ways to do this, but one particularly good-sounding one looks like this:

在顶部两个和声部分之间交换一些音符。

Swapping a few notes between the top two harmony parts.

看看我们在这里做了什么?我们交换了两个部分之间的第二个和第四个音符,这样第一部分现在变成了 GEAD,第二部分变成了 EAFG。您仍然代表和弦中的所有音符,但您使每条单独的线条在旋律上更加有趣。

See what we did here? We swapped the second and fourth notes between the parts, so that the first part now goes G-E-A-D, and the second part goes E-A-F-G. You’re still representing all the notes in the chord, but you’re making each individual line more melodically interesting.

当您创造声乐或器乐和声时,一个很好的建议是亲自演唱每个部分。如果该部分很无聊或很难唱,请考虑不同的转位或在部分之间交换音符。最好的和声部分本身听起来就很棒!

A good tip when you’re creating either vocal or instrumental harmony is to physically sing each part yourself. If the part is boring or hard to sing, consider different inversions or swapping notes between parts. The best harmony parts sound great on their own!

语音引导

Voice Leading

声音主导是当你从头到尾遵循一个和声部分时所得到的;音符之间的不同音程遵循一组约定,并产生伪旋律脱离了和谐线。您必须确保一个音符正确地连接到下一个音符,以避免和声线听起来像是一堆完全不相连的音调。

Voice leading is what you get when you follow one harmony part from start to finish; the different intervals between the notes follow a set of conventions and act to create a pseudo-melody out of the harmony line. You have to make sure that one note properly leads to the next to avoid having the harmony line sound like a bunch of totally unconnected tones.

提示

TIP

如果您遵循这些声音主导惯例,您将创建在流行音乐和古典音乐中听起来都不错的和弦进行。然而,当你在流行和爵士风格中工作时,你会发现你可以更自由地用你的声音主导;让您的耳朵引导您找到最有效的方法。

If you follow these voice-leading conventions, you’ll create chord progressions that sound good in both popular and classical music. When you’re working in the popular and jazz styles, however, you’ll discover that you can be a lot freer with your voice leading; let your ear guide you to what works best.

当您编写和声时,需要牢记三个关键的声音引导惯例。当您遵循这些约定时,和声声部的创建会变得有些容易:

When you’re writing harmony, there are three key voice-leading conventions to keep in mind. When you follow these conventions, the creation of harmony parts becomes somewhat easy:

  • 一般来说,声音应该流畅。这意味着将每个声音移动到尽可能短的距离,并保留同一声音中连续和弦之间的共同音调。多大的飞跃才算是太多了?尽量避免大于四度的跳跃,除了最低(低音)声音,它可以接受随着和弦进行而移动的较大跳跃。
  • In general, voices should move smoothly. That means moving each voice the shortest distance possible, and retaining common tones between successive chords in the same voice. How big of a leap is too much? Try to avoid leaps larger than a fourth, except in the lowest (bass) voice, which can accept larger leaps that move along with the chord progression.
  • 如果可能的话,您应该避免将所有声音移向同一方向。如果某些声音在一行中向上移动,则至少有一个声音应向下移动。
  • When at all possible, you should avoid moving all the voices in the same direction. If some of the voices move up over the course of a line, at least one voice should move down.
  • 避免以平行的“完美”音程(四度、五度或八度)移动声音。声音可以平行三度和六度移动。
  • Avoid moving voices in parallel “perfect” intervals—fourths, fifths, or octaves. Voices can move in parallel thirds and sixths.

这是一个糟糕的声音引导的例子。请注意这两个部分是如何平行移动的,以及每个声音如何在音符之间有巨大的跳跃?

Here’s an example of bad voice leading. Notice how the two parts move in parallel, and how each voice has huge leaps from note to note?

不好的声音导致……

Bad voice leading …

第二个示例展示了如何仅通过在语音之间交换一些音符或通过在和弦中选取其他音符来解决语音主导问题。当您意识到任何音符都可以分配给任何声音时,这并不难;您所要做的就是选择正确的音符来创作听起来最好听的音乐线条。

The second example shows how to fix the voice-leading problems merely by swapping a few notes from voice to voice or by picking other notes within the chord. It isn’t that hard when you realize that any note can be assigned to any voice; all you have to do is pick the right notes to create the best-sounding musical lines.

……已更正。

… corrected.

用对位表达观点

Making a Point—with Counterpoint

对位法是结合两个或多个同时音乐线的艺术。与和声艺术不同,和声部分是主旋律的附属部分,对位法中的两个旋律部分具有同等的权重。

Counterpoint is the art of combining two or more simultaneous musical lines. Unlike the art of harmony, where the harmony parts are subsidiary to the main melody, both melodic parts in counterpoint have equal weight.

传统对位法中的两个声部不仅在单独演奏时必须听起来有旋律性,而且在演奏时也必须听起来优美。它们还必须和谐地组合在一起以暗示歌曲的和弦结构。这意味着如果你用对位法演奏基本和弦,旋律线听起来一定不会不和谐;这也意味着您应该能够仅从旋律线推断出潜在的和弦结构。

The two voices in traditional counterpoint must not only sound melodic when played separately; they also must fit together harmonically to suggest the chord structure of the song. That means if you play the underlying chords against the counterpoint, the melodic lines mustn’t sound dissonant; it also means you should be able to deduce the underlying chord structure from the melodic lines alone.

成功对位的关键

Keys to Successful Counterpoint

不同声音的相互作用(当我说“声音”时,我指的是旋律线;对位法可用于声乐和器乐)对于成功的对位法至关重要。两条线必须共同努力,而不是互相对抗。第二行必须与第一行旋律相同,并且任何一行都不应占主导地位。

The interaction of the different voices (and when I say “voices,” I mean melodic lines; counterpoint can be used in both vocal and instrumental music) is essential to successful counterpoint. The two lines have to work together, not fight with each other. The second line has to be the melodic equal of the first, and neither line should dominate.

经典的两声部对位法,由巴赫提供——注意两条旋律线的独立性。

Classic two-part counterpoint, courtesy of Bach—notice the independence of the two melodic lines.

两条线都可以单曲也很重要。这意味着任何一个旋律都应该能够独立作为主旋律来对抗潜在的和弦进行。对位旋律不应该只是配合和弦的音符组合;它必须有旋律,必须有自己的内在音乐逻辑,并且必须与其他旋律相适应。

It’s also important that both lines be singable. That means either melody should be able to stand on its own as a main melody against the underlying chord progression. A melody in counterpoint should not be just a combination of notes to fit the chords; it has to be melodic, it has to have its own internal musical logic, and it has to fit with the other melody.

在创作对位旋律时,请运用您在第 8 章中学到的技巧。确保每个旋律都有一个形状和目的地,以及连贯的形式。还要确保每个旋律在歌曲的总体和弦结构中有意义,它适合舒适的声乐或乐器范围(通常不超过八度范围),并且旋律内的音程较小且可演唱。

When composing melodies for counterpoint, call upon the skills you learned back in Chapter 8. Make sure each melody has a shape and a destination, as well as a coherent form. Also make sure each melody makes sense within the song’s general chord structure, it fits within a comfortable vocal or instrumental range (generally no more than an octave range), and the intervals within the melody are small and singable.

当您将两个旋律放在一起时,您应该确保它们都符合基本和弦的音符,并保持在基本音阶的范围内。两个旋律也不应该互相重复;如果你有两个相同的旋律,那么你是在齐声写作,而不是对位。这意味着每个旋律都应该有自己的动作——它应该补充而不是干扰另一个旋律的动作。每个旋律中的音符也不应该与其他旋律中的音符干扰或冲突;避免不和谐的垂直间隔。

When you put your two melodies together, you should make sure they both fit within the notes of the underlying chord, and stay within the confines of the underlying scale. The two melodies should also not duplicate each other; if you have two identical melodies, you’re writing in unison, not in counterpoint. That means each melody should have its own motion—which should complement, but not interfere with, the motion of the other melody. The notes within each melody also should not interfere or clash with the notes in the other melody; avoid dissonant vertical intervals.

两种旋律有自己的节奏模式是可以的。事实上,在古典音乐中这是预料之中的。(如果你的两个旋律具有相同的节奏结构,那么你就拥有所谓的 1:1 节奏比,这在某些方面比节奏更复杂的形式更容易使用。)

It’s okay for the two melodies to have their own rhythmic patterns. In fact, in classical music it’s expected. (If your two melodies have identical rhythmic structure you have what is called a 1:1 rhythmic ratio, which in some ways is easier to work with than more rhythmically complex forms.)

创建你的第一个对位

Creating Your First Counterpoint

学习对位法的最佳方法是深入研究并开始作曲!

The best way to learn about counterpoint is to dive into the deep end—and start composing!

对于我们的第一个对位,我们将从定义一些参数开始。这些不一定是对位形式的硬性规则,但它们确实使初学者更容易创建有效的对位法。

For our first counterpoint, we’ll start by defining some parameters. These are not necessarily hard-and-fast rules for the contrapuntal form, but they do make it easier for beginners to create a working counterpoint.

以下是参数:

Here are the parameters:

  • 使用1:1的节奏比;两种旋律应使用相同的节奏模式。
  • Use a 1:1 rhythmic ratio; both melodies should use the same rhythmic patterns.
  • 仅允许辅音和声音程;没有不和谐的和声。
  • Only consonant harmonic intervals are allowed; no dissonant harmonies.
  • 下部部分必须以主音开始和结束。
  • The lower part must begin and end on the tonic of the key.
  • 上部部分必须从第一个或第五个键开始,并以主音结束 - 要么与低音部分一致,要么高于八度。
  • The upper part must begin on either the first or the fifth of the key, and end on the tonic—either in unison with the bass part or an octave above.
  • 在旋律之间,严重依赖三度和六度的音程。除最后一个音符外,避免使用八度音阶和同音音阶。
  • Between the melodies, rely heavily on intervals of thirds and sixths. Avoid octaves and unisons, except for the final note.
  • 将每个声音移动到尽可能短的距离。
  • Move each voice the shortest distance possible.

现在让我们开始吧。

Now let’s get started.

有些作曲家喜欢同时写两个旋律部分;有些作曲家喜欢同时写两个旋律部分。这使他们能够采用各种先进的技术,例如在两个部分之间共享对位旋律。然而,对于初学者来说,先写第一部分,然后通过添加对位旋律来完成拼图要容易得多。这正是我们要做的。

Some composers like to write both melodic parts simultaneously; this enables them to employ various advanced techniques, such as sharing a contrapuntal melody between the two parts. However, for beginners it’s a lot easier to write the first part first and then complete the puzzle by adding the counterpoint melody. Which is exactly what we’ll do.

我们将从下往上开始,为较低的声音创建我们的第一个旋律。(这是低音谱号中标记为“2”的五线谱。)我们的旋律为 3/4 拍,F 大调。因为对位法在两个声部都有大量的节奏和旋律运动时效果最好,所以旋律相当活泼,有很多八分音符;它也以主音 F 开始和结束。

We’ll start from the bottom up and create our first melody for the lower voice. (This is the staff labeled “2,” in bass clef.) Our melody is in 3/4 time, in the key of F Major. Because counterpoint works best when both parts have a lot of rhythmic and melodic movement, the melody is fairly lively, with a lot of eighth notes; it also starts and ends on the tonic note, F.

现在事情变得有趣了。我们需要想出第二个更高的旋律,它不会与较低的旋律发生冲突——事实上,它应该补充第一个旋律。你不能在真空中创造出第二个旋律;它必须是真实的。对位法不仅仅是将两个不相关的旋律放在一起。两种旋律必须在逻辑上结合在一起,并且必须共同发挥潜在的和弦。

Now things get interesting. We need to come up with a second, higher, melody that doesn’t clash with the lower melody—in fact, it should complement the first melody. You can’t create this second melody in a vacuum; counterpoint is more than just putting two unrelated melodies together. The two melodies have to fit together logically, and have to work together to suggest the underlying chords.

较低的声音——对位法的两个部分中的第一部分。

The lower voice—the first of two parts in counterpoint.

那么让我们从头开始吧。下部部分从 F 开始,这是基础调的主音。根据我们的参数,上部旋律可以从主音或第五音开始。我们不想让我们的第一个对位变得太花哨,所以我们将从 F 两个八度高的高音谱号开始上部旋律(标记为“1”的高音谱号)。

So let’s start at the start. The lower part started on an F, which is the tonic of the underlying key. According to our parameters, the upper melody can start either on the tonic or the fifth. We don’t want to get too fancy with our first counterpoint, so we’ll start the upper melody (the treble clef labeled “1”) on the F two octaves higher.

在第一小节中,较低的旋律有轻微的向上进行。为了区分上部旋律和下部旋律,我们将给第二个旋律稍微向下的进展。请记住,我们希望两个声音之间的音程听起来悦耳,这意味着强调三度和六度,并避免不和谐的音程。我们还想避免平行移动,因此我们将上部旋律的第二个音符留在 F 上,这与底部的 D 听起来很好。(这是一个很好的小三度。)

In the first measure, the lower melody has a slight upward progression. To distinguish the upper melody from the lower part, we’ll give this second melody a slight downward progression. Remember, we want the intervals between the two voices to be pleasant-sounding, which means emphasizing the thirds and sixths, and avoiding dissonant intervals. We also want to avoid parallel movement, so we’ll leave the second note of the upper melody on F, which sounds good against the D on the bottom. (It’s a nice minor third.)

对于第三个音符,是时候引入一些动作了——在本例中是向下的动作,与较低旋律中的向上的动作形成对比。我们将从 F 降到 C,这是一个很好的可演唱的第四度。它还与较低旋律中的E形成令人愉悦的小六度。

For the third note, it’s time to introduce some motion—in this case, a downward motion, to contrast with the upward motion in the lower melody. We’ll move down from F to C, which is a nice singable fourth. It also forms a pleasing minor sixth against the E in the lower melody.

第一小节中的第四个也是最后一个音符也需要表现出向下的运动,因此我们将继续从 C 向下到 A,这是一个易于演唱的小三度。在较低的旋律中,A 还与 F 形成了令人愉悦的大三度。

The fourth and final note in the first measure also needs to show downward movement, so we’ll continue down from C to A, an easily singable minor third. The A also creates a pleasing major third against the F in the lower melody.

现在,如果您仔细观察,您会发现我们不仅在上部旋律中引入了相反的运动(向下,与向上移动的下部旋律相反),而且我们还使用上部旋律来暗示底层和弦( F大调)。下行旋律实际上是一个琶音的 F 大调和弦,其第一个转位(F 到 C 到 A)。到目前为止我们所拥有的内容如下所示:

Now, if you look closely, you’ll see that not only did we introduce contrary motion in the upper melody (down, in contrast to the upward-moving lower melody), but we also used the upper melody to suggest the underlying chord (F Major). The downward melody is actually an arpeggiated F Major chord, in its first inversion (F to C to A). What we have so far is shown here:

开始为第一个声音添加对位。

Starting to add counterpoint to the first voice.

定义

DEFINITION

两个以相反方向移动(一个向上,另一个向下)的对位旋律被称为具有相反的运动。

Two melodies in counterpoint that move in opposite directions (one up; the other down) are said to have contrary motion.

正如您所看到的,创建对位需要大量的逻辑思维——这很像思考国际象棋中的走法。惯例已经存在,而且一切都非常合乎逻辑,但是您必须努力使它们按照应有的方式组合在一起。

As you can see, creating counterpoint requires a lot of logical thinking—it’s a lot like thinking through the moves in a game of chess. The conventions are there and it’s all very logical, but you have to work hard to make it all fit together as it should.

我们将按照惯例逐个音符地继续添加到上面的语音线。当我们完成时,我们有两个完整的旋律,相互对位,如下所示:

We’ll continue adding to the upper voice line, following the conventions note by note. When we’re finished, we have two complete melodies, in counterpoint to each other, like this:

你的第一个反驳!

Your first counterpoint!

您的第一个对位法是简单 1:1 节奏对位法的一个很好的例子。当然,经典对位法要求两个声音之间的节奏不同,所以让我们继续使用这个示例来创建一些节奏变化。

Your first counterpoint is a good example of simple 1:1 rhythmic counterpoint. Of course, classical counterpoint requires that the rhythms differ between the two voices, so let’s continue to work with this example to create some rhythmic variations.

如何在主旋律中引入不同的节奏?在此示例中,您可以通过将所有音符基本移动到左侧一拍来实现这一点。也就是说,您将八分音符放在每个小节的第一拍而不是第二拍上,并将小节结束的四分音符延伸为二分音符。

How do you introduce different rhythms into the top melody? In this example, you can do it by essentially scooting all the notes to the left one beat. That is, you put the eighth-note figure on beat one instead of beat two of each measure, and extend the measure-ending quarter note into a half note.

看起来是这样的:

Here’s what this looks like:

你的第一个对位——但主旋律的节奏不同。

Your first counterpoint—but with different rhythms in the top melody.

请注意,当底部部分使用四分音符时,此方法会在顶部部分创建八分音符,反之亦然。这提供了简单的节奏变化,而无需全力以赴复杂的相互关联的节奏。

Note that this approach created eighth notes in the top part when the bottom part is using quarter notes, and vice versa. This provides a simple rhythmic variation without going whole-hog on complex interrelated rhythms.

应避免什么

What to Avoid

无论您是在写和声还是对位法,您都需要避免某些音符组合。在大多数情况下,您会避免使用这些组合,因为它们听起来不太正确。不过,提前了解约定还是有好处的,这样您就可以避免犯新手错误。

Whether you’re writing harmony or counterpoint, there are certain combinations of notes that you want to avoid. In most cases, you’ll avoid these combinations because they don’t sound right; still, it’s good to know the conventions in advance so you can keep from making rookie mistakes.

以下是要避免的事情:

Here’s what to avoid:

延长平行运动。平行移动是指两个或多个声音以完全相同的间隔向同一方向移动。平行运动在某些类型的音乐中是不受欢迎的,但在其他类型的音乐中是完全可以接受的。例如,在古典音乐中,您希望避免纯四度、五度和八度的平行移动;然而,在流行音乐中,平行的四度和五度是允许的,甚至有些常见——即使如果持续太久,它们听起来确实有点无聊。无论如何,如果你努力尝试,你通常可以想出一些听起来比扩展并行声音更有趣的东西。如果有必要的话,可以先做一点平行运动,但然后改变一些东西,以免变得无聊。

Extended parallel movement. Parallel movement is when two or more voices move in the same direction by the exact same interval. Parallel movement is frowned upon in some types of music—but perfectly acceptable in others. For example, in classical music you want to avoid parallel movement in perfect fourths or fifths and octaves; in popular music, however, parallel fourths and fifths are permitted and even somewhat common—even if they do sound a little boring if carried on for too long. In any case, if you try hard, you can generally come up with something that sounds more interesting than extended parallel voices. Go ahead and use a little parallel movement if you have to, but then vary things to keep from getting boring.

大飞跃。无论您是编写和声还是对位法,您都应该遵循创建旋律时使用的关键约定之一 - 保持音符之间的间隔尽可能小。避免音符之间出现大的跳跃;它们不仅听起来不连贯,而且也很难演奏和演唱。与标准的声音主导一样,任何大于四度或五度的音程都可能是太大的跳跃。

Big leaps. Whether you’re writing harmony or counterpoint, you should follow one of the key conventions used when creating melodies—keep the intervals between notes as small as possible. Avoid big leaps between notes; they not only sound disconnected, they’re also hard to play and sing. As with standard voice-leading, any interval larger than a fourth or fifth is probably too big a leap.

不和谐的音程——除非它们得到解决。在这种情况下,我们讨论的是不同声音之间的间隔,这与其他任何事情一样都是一个实际的考虑因素。例如,如果您要对 F 大调七和弦进行和声,请勿将七和弦和根音(E 和 F)放在相近的声部上。相反,将其中一个音符调低,这样两个音符之间就有一个八度左右的空间。也就是说,引入这种不和谐是可以的,如果你随后解决它的话。这意味着您可以在传递的音调中甚至在乐句末尾包含不和谐音,但前提是其中一个声音随后解析为更令人愉悦的音程。例如,在 F 大调七和弦中,带有 E 的声音可能解析为 F。

Dissonant intervals—unless they resolve. In this case we’re talking about the intervals between different voices—and this is as much a practical consideration as anything else. For example, if you’re harmonizing an F Major seventh chord, don’t put the seventh and the root (E and F) together on close voices. Instead, put one of the notes in a lower voice, so there’s an octave or so of space between the two notes. That said, it’s okay to introduce this kind of dissonance, if you then resolve it. That means you can include dissonance in passing tones, or even at the end of phrases, but only if one of the voices then resolves to a more pleasing interval. For example, in the F Major seventh chord, the voice with the E might resolve to F.

练习

Exercises

练习15-1

Exercise 15-1

找出并纠正下面和声片段中的声部主导错误。

Find and correct the voice-leading errors in the following piece of harmony.

练习15-2

Exercise 15-2

使用二分音符和四分音符为以下旋律创建二声部和声。

Create two-voice harmony for the following melody, using half notes and quarter notes.

练习15-3

Exercise 15-3

创建与以下旋律对位的第二个旋律部分。

Create a second melody part in counterpoint to the following melody.

练习15-4

Exercise 15-4

根据以下和弦进行,创建一个双声对位。

Based on the following chord progression, create a two-voice counterpoint.

您至少需要知道的

The Least You Need to Know

  • 和声是基础和弦结构中音符的垂直组合;对位法是与基本和弦相关的一系列水平旋律的综合。
  • Harmony is a vertical combination of notes within the underlying chord structure; counterpoint is an integrated series of horizontal melodies relating to the underlying chords.
  • 当您在整个进行过程中改变和弦发声时,会促进和声。
  • Harmony is facilitated when you vary chord voicings throughout a progression.
  • 每个和声部分必须可以单独演唱,并遵循既定的声音主导惯例。
  • Each harmony part must be singable on its own and follow established voice-leading conventions.
  • 对位中的每个旋律都应该能够作为独立的旋律,同时补充其他旋律。
  • Each melody within a counterpoint should be able to function as a standalone melody, and at the same time complement the other melodies.
  • 无论您是在创作和声还是对位法,通常都应该避免平行四度、五度或八度的长时间移动——尤其是在古典音乐中。(流行音乐通常有更少且更宽松的惯例。)
  • Whether you’re creating harmony or counterpoint, you should generally avoid extended movement in parallel fourths, fifths, or octaves—especially in classical music. (Popular music typically has fewer—and looser—conventions.)

第16

CHAPTER

16

和弦替换和转换

Chord Substitutions and Turnarounds

在这一章当中

In This Chapter

  • 学习通过扩展为无聊的和弦进行增添趣味
  • Learning to spice up boring chord progressions with extensions
  • 探索如何改变和弦的低音音符并同时演奏两个和弦
  • Discovering how to alter a chord’s bass note and play two chords simultaneously
  • 掌握和弦替换的艺术
  • Mastering the art of chord substitution

本书的这一部分主要是关于修饰你的音乐。您可以用和声和对位法来修饰您的旋律(正如您在上一章中学到的那样),修饰单个音符(正如您将在下一章中学到的那样),以及修饰您的和弦和和弦进行。这就是本章的全部内容。

This section of the book is all about embellishing your music. You can embellish your melody with harmony and counterpoint (as you learned in the previous chapter), embellish individual notes (as you’ll learn in the next chapter), and embellish your chords and chord progressions. That’s what this chapter is all about.

即使您陷入无聊的 I-IV-V 进程中,您仍然可以做很多事情来在事物上打上自己的个人印记。例如,您不必精确地满足于那些和弦;您可以选择那些和弦。您可以延长和弦,改变低音线,甚至用其他和弦替换原来的和弦。您仍然会或多或少地保留歌曲的原始和声结构,但您会真正使声音变得爵士乐。

Even if you’re stuck with a boring I-IV-V progression, there is still a lot you can do to put your own personal stamp on things. For example, you don’t have to settle for precisely those chords; you can extend the chords, alter the bass line, and even substitute other chords for the originals. You’ll still maintain the song’s original harmonic structure—more or less—but you’ll really jazz up the way things sound.

所有这些都会给您的听众和音乐家同行留下深刻的印象。一些关键和弦的改变和替换会让人们认为你的触感正确——而且你真的了解你的音乐理论!

All this will impress your listeners and fellow musicians. A few key chord alterations and substitutions will make folks think you have the right touch—and that you really know your music theory!

延伸美好事物

Extending a Good Thing

让无聊的和弦进程变得有趣的最简单方法是使用七和弦,甚至添加一些扩展。正如您在第 9 章中学到的那样,基本和弦是由 1-3-5 音符组成的三和弦。当您开始在三和弦(七度、九度和十一度)之上添加音符时,您正在向上延伸和弦。

The simplest way to spice up a boring chord progression is to use seventh chords, or even add a few extensions beyond that. As you learned back in Chapter 9, the basic chord is a triad consisting of the 1-3-5 notes. When you start adding notes on top of the triad—sevenths, ninths, and elevenths—you’re extending the chord upward.

和弦扩展可以使基本和弦听起来丰富而充满异国情调。没有什么比小七和弦或大九和弦更能创造出真正完整、和声复杂的声音了。

Chord extensions can make a basic chord sound lush and exotic. There’s nothing like a minor seventh or major ninth chord to create a really full, harmonically complex sound.

七和弦——尤其是属七和弦——在当今所有类型的音乐中都很常见。六度、九度和其他扩展和弦在现代爵士音乐以及追求爵士感觉的电影和电视配乐中经常使用。拿起 20 世纪 50 年代以来的任何爵士乐唱片,您都会听到很多扩展和弦。甚至有很多摇滚和流行音乐家(我想到的是斯蒂利·丹)在他们的音乐中拥抱这些爵士乐和声。那么为什么不自己使用这个技术呢?

Seventh chords—especially dominant seventh chords—are common in all types of music today. Sixths, ninths, and other extended chords are used frequently in modern jazz music—and in movie and television soundtracks that go for a jazzy feel. Pick up just about any jazz record from the 1950s on, and you’ll hear lots of extended chords. There are even a lot of rock and pop musicians—Steely Dan comes to mind—who embrace these jazz harmonies in their music. So why not use this technique yourself?

笔记

NOTE

大约从十七世纪开始,七和弦就已经成为音乐词汇的一部分。在这些音阶上,人们倾向于使用 V7 和 ii7 和弦,甚至比使用三和弦还要多,甚至对于最简单的音乐流派,如赞美诗和民歌也是如此。在布鲁斯音乐中,通常在每个音阶上使用七和弦,甚至是主音。其他扩展和弦(九度、十一度等)在十九世纪开始广泛使用,并且至今仍在许多形式的音乐中使用。例如,在许多爵士乐作品中,九、十一和十三和弦比三和弦和七和弦更常用。

Seventh chords have been part of the musical vocabulary from about the seventeenth century. There is a tendency to use the V7 and ii7 chords as much as or more than the triads on those degrees of the scale—even for the simplest musical genres, such as hymns and folk songs. In the blues, it is common to use seventh chords on every scale degree—even the tonic. Other extended chords (ninths, elevenths, and so forth) came into widespread use in the nineteenth century, and are still used in many forms of music today. For example, in many jazz compositions the ninth, eleventh, and thirteenth chords are used more often than triads and seventh chords.

下面是一个示例,说明扩展和弦如何使简单的和弦进行听起来更加和声复杂。您所要做的就是采用 C 调 (C-Am-FG) 的标准 I-vi-IV-V 进行,并向每个三和弦添加全音阶七度。这会产生以下进行:CM7-Am7-FM7-G7——两个大七度、一个小七度和一个属七度。当你演奏这个进程并反转一些和弦以创建一些接近的声音时,你会从旧的主力进程中得到完全不同的声音。而且这根本不难做到!

Here’s an example of how extended chords can make a simple chord progression sound more harmonically complex. All you have to do is take the standard I-vi-IV-V progression in the key of C (C-Am-F-G) and add diatonic sevenths to each triad. That produces the following progression: CM7-Am7-FM7-G7—two major sevenths, a minor seventh, and a dominant seventh. When you play this progression—and invert some of the chords to create a few close voicings—you get a completely different sound out of that old workhorse progression. And it wasn’t hard to do at all!

标准的 I-vi-IV-V 进行(C 音)带有第七和弦(以及一些接近的声部)。

The standard I-vi-IV-V progression (in C) embellished with seventh chords (and some close voicings).

您可以通过在和弦中添加九度和十一度来获得相同的效果,同时保持在歌曲的基本调内。添加到和弦中的音符越多,和声就越复杂,声音就越饱满。

You can get the same effect by adding ninths and elevenths to your chords while staying within the song’s underlying key. The more notes you add to your chords, the more complex your harmonies—and the fuller the sound.

改变低音

Altering the Bass

这是另一种让旧和弦听起来焕然一新的巧妙方法,您所要做的就是更改和弦底部的音符。

Here’s another neat way to make old chords sound new—and all you have to do is change the note on the bottom of the chord.

回到第 9 章,我们简要介绍了斜线和弦的概念,更准确地称为改变低音和弦。对于改变的低音和弦,和弦的顶部保持不变,但低音,顾名思义,被改变了。

Back in Chapter 9 we touched briefly on the concept of slash chords, more properly called altered bass chords. With an altered bass chord, the top of the chord stays the same, but the bass, as the name implies, is altered.

有些人称这些和弦为斜线和弦,因为改变的低音音符在对角线斜线标记后指示,如下所示:G/D。您将和弦读作“G over D”,然后将其演奏为 G 和弦,低音为 D。

Some folks call these chords slash chords because the altered bass note is indicated after a diagonal slash mark, like this: G/D. You read the chord as “G over D,” and you play it as a G chord with a D in the bass.

斜线和弦的例子。

Examples of slash chords.

您可以使用改变的低音和弦来实现多种不同的效果,包括以下效果:

You can use altered bass chords to achieve several different effects, including the following:

  • 通过将三个主要音符之一(但不是根音)放在低音中,您可以指定特定的和弦转位。
  • By putting one of the three main notes (but not the root) in the bass, you dictate a particular chord inversion.
  • 通过将低音音符视为一个单独的实体,您可以创建移动的低音线并增加旋律的趣味性。
  • By treating the bass note as a separate entity, you can create moving bass lines with increased melodic interest.
  • 通过在低音中添加非和弦音符,您可以创建具有不同和声结构的不同和弦。
  • By adding a nonchord note in the bass, you create a different chord with a different harmonic structure.

斜线和弦在爵士乐以及更复杂的流行音乐中经常使用。听卡罗尔·金 (Carole King) 的Tapestry专辑,你会听到很多改变的低音(她是小七和弦和低音第四和弦的忠实粉丝);海滩男孩的很多歌曲也是如此,尤其是传奇的《Pet Sounds》专辑中的歌曲。

Slash chords are used a lot in jazz, and also in more sophisticated popular music. Listen to Carole King’s Tapestry album, and you’ll hear a lot of altered bass (she’s a big fan of the minor seventh chord with the fourth in the bass); the same thing with a lot of Beach Boys songs, especially those on the legendary Pet Sounds album.

两个和弦比一个和弦更好

Two Chords Are Better Than One

改变的低音和弦使用对角线标记将和弦与低音音符分开。当您看到两个不同和弦符号之间有一条水平线的和弦(例如分数)时,您面对的是一个截然不同的野兽。

An altered bass chord uses a diagonal slash mark to separate the chord from the bass note. When you see a chord with a horizontal line between two different chord symbols, like a fraction, you’re dealing with a much different beast.

这种类型的记谱法表示要同时演奏两个和弦。分数顶部的弦放在堆的顶部;底部的和弦在下面演奏。例如,当您发现自己知道在完整的 G 大调和弦之上弹奏 C 大调和弦时。

This type of notation indicates that two chords are to be played simultaneously. The chord on top of the fraction is placed on top of the pile; the chord on the bottom is played underneath. For example, when you see you know to play a C Major chord on top of a full G Major chord.

复合和弦的例子。

Examples of compound chords.

当你像这样一起演奏两个和弦时,你就得到了所谓的复合和弦。您可以使用复合和弦来创建极其复杂的和声,否则这些和声可能会过于复杂而无法使用传统的扩展来音符。

When you play two chords together like this, you have what’s called a compound chord. You use compound chords to create extremely complex harmonies—those that might otherwise be too complex to note using traditional extensions.

一个好的和弦可以替代另一个

One Good Chord Can Replace Another

当你面对无聊的和弦进行时,你可能别无选择,只能用不那么无聊的东西来代替所写的和弦。和弦替换的概念在爵士乐(那些爵士音乐家很容易感到无聊!)和其他现代音乐中很常见。

When you’re faced with a boring chord progression, you may have no alternative but to substitute the chords as written with something a little less boring. The concept of chord substitution is common in jazz (those jazz musicians get bored easily!) and other modern music.

和弦替换是一个简单的概念。您从歌曲中取出一个和弦,然后用另一个和弦替换它。替代和弦应该与它所替代的和弦有一些共同点,其中最重要的是它在歌曲的基本和声结构中的位置。因此,如果您替换主和弦 (V),您需要使用也可返回主音 (I) 的和弦。如果替换大和弦,您需要将其替换为另一个大和弦或与原始和弦使用一些相同音符的和弦。

Chord substitution is a simple concept. You pull a chord out of the song, and replace it with another chord. The substitute chord should have a few things in common with the chord it replaces, not the least of which is its place in the song’s underlying harmonic structure. So if you replace a dominant (V) chord, you want to use a chord that also leads back to the tonic (I). If you replace a major chord, you want to replace it with another major chord or a chord that uses some of the same notes as the original chord.

关键是用具有相同功能但更有趣的方式替代普通的和弦或进行。

The key thing is to substitute an ordinary chord or progression with one that serves the same function, but in a more interesting manner.

全音阶替换

Diatonic Substitution

最简单的和弦替换形式是将一个和弦替换为一个相关和弦,或者是高于原和弦的三度音,或者是低于原始和弦的三度音。通过这种方式,您可以保留原始和弦的三个音符中的两个,这为新和弦提供了强大的和声基础。

The easiest form of chord substitution replaces a chord with a related chord either a third above or a third below the original. This way you keep two of the three notes of the original chord, which provides a strong harmonic basis for the new chord.

这种类型的替换称为全音阶替换,因为您不会改变基础音阶的任何音符;您只是在新和弦的音阶中使用不同的音符。

This type of substitution is called diatonic substitution, because you’re not altering any of the notes of the underlying scale; you’re just using different notes from within the scale for the new chord.

例如,任何音阶中的 I 和弦都可以替换为 vi 和弦(下面的第三和弦)或 iii 和弦(上面的第三和弦)。在 C 大调中,这意味着将 C 大调和弦 (CEG) 替换为 A 小调 (ACE) 或 E 小调 (EGB)。两个和弦与 C 和弦有两个共同的音符,因此替换后并不会太刺耳。

For example, the I chord in any scale can be replaced by the vi chord (the chord a third below) or the iii chord (the chord a third above). In the key of C, this means replacing the C Major chord (C-E-G) with either A minor (A-C-E) or E minor (E-G-B). Both chords share two notes in common with the C chord, so the replacement isn’t too jarring.

将 I 和弦(C 大调)替换为 vi(A 小调)和 iii(E 小调)——有很多共同点。

Replacing the I chord (C Major) with the vi (A minor) and the iii (E minor)—lots of notes in common.

您可以以相同的方式替换扩展和弦,并且实际上最终会得到更多共同的音符。例如,您可以将 CM7 替换为 Am7 或 Em7,两者都与原始和弦具有三个共同音符。

You can replace extended chords in the same manner, and actually end up with more notes in common. For example, you can replace CM7 with either Am7 or Em7, both of which have three notes in common with the original chord.

主要和弦替换

Major Chord Substitutions

全音阶替换是理论;您可能更愿意了解一些可用于现实世界和弦替换的严格规则。不用担心; 它们的存在部分基于全音阶替代理论。

Diatonic substitution is the theory; you’d probably rather know some hard-and-fast rules you can use for real-world chord substitution. Don’t worry; they exist, based partially on diatonic substitution theory.

下表列出了可以对标准大和弦进行的三种不同替换。请记住,替代和弦的根音必须保持在基础音阶内,即使某些和弦音符偶尔会有点漂移。

The following table presents three different substitutions you can make for a standard major chord. Remember that the root of the substitute chord must stay within the underlying scale, even if some of the chord notes occasionally wander about a bit.

主要和弦替换

Major Chord Substitutions

代换

Substitution

示例(C 大调和弦)

Example (for the C Major Chord)

下面的小三度和弦

Minor chord a third below

小七和弦以下三分之一

Minor 7 chord a third below

小三度以上和弦

Minor chord a third above

表中的第一个替换是标准的“向下三分之一”全音阶替换。第二个替换是相同的事情,但使用扩展和弦(小七度)进行替换。正如前面所讨论的,第三个替换是“上三分之一”全音阶替换。

The first substitution in the table is the standard “down a third” diatonic substitution. The second substitution is the same thing, but uses an extended chord (the minor seventh) for the substitution. The third substitution is the “up a third” diatonic substitution, as discussed previously.

小调和弦替换

Minor Chord Substitutions

替换大和弦相对容易。那么用小和弦代替呢?

Substituting a major chord is relatively easy. So what about substituting a minor chord?

如下表所示,一些相同的替换规则适用于小调和大调,尤其是“上三分之一”和“下三分之一”全音阶替换。

As you can see in the following table, some of the same substitution rules work with minor as well as major, especially the “up a third” and “down a third” diatonic substitutions.

小调和弦替换

Minor Chord Substitutions

代换

Substitution

示例(A 小调和弦)

Example (for the A Minor Chord)

大三度以上和弦

Major chord a third above

大三度以下和弦

Major chord a third below

大七和弦以下三度

Major 7 chord a third below

同根减和弦

Diminished chord with same root

最后一个替换属于“更好的事情”类别。也就是说,如果一个小和弦听起来不错,让我们降另一个音符,它听起来会更小。有些人喜欢以这种方式使用减和弦;有些人则喜欢使用减和弦。其他人则不然。让你的耳朵来评判吧。

The last substitution falls into the “more of a good thing” category. That is, if a minor chord sounds good, let’s flat another note and it’ll sound even more minor. Some folks like the use of a diminished chord in this fashion; others don’t. Let your ears be the judge.

占主导地位的第七替补

Dominant Seventh Substitutions

好的,现在您知道如何替换大调和弦和小调和弦,但是属七和弦呢?它们不是真正的大调,也不是真正的小调——什么样的和弦可以代替呢?

Okay, now you know how to substitute both major and minor chords, but what about dominant seventh chords? They’re not really major, and they’re not really minor—what kind of chords can substitute for that?

答案需要一些和谐的创造力。您可以进行全音阶替换(使用属七度以上或以下的减和弦),但还有更有趣的可能性,如下表所示。

The answer requires some harmonic creativity. You can do a diatonic substitution (using the diminished chords a third above or below the dominant seventh), but there are more interesting possibilities, as you can see in the following table.

属七和弦替换

Dominant Seventh Chord Substitutions

代换

Substitution

示例(G7 和弦)

Example (for the G7 Chord)

下面大二和弦

Major chord a second below

小七和弦以下三分之一

Minor 7 chord a third below

降三度和弦

Diminished chord a third above

小七和弦下四度——在同一根音上

Minor 7 chord a fourth below—over the same root

这里更有趣的替换是第一个和最后一个。第一次替换将 V7 和弦替换为 IV 和弦;使用次属(IV)和弦会导致回到 I 和弦的主音变得更柔和。最后一个替换使用了改变的和弦,这样你就可以用 iim7/V 回到主音——我喜欢称之为“Carole King 和弦”。(这是因为 King 女士在她的歌曲创作中经常使用这种类型的和声结构。)因此,如果您使用 C 调,则不要以 G 或 G7 和弦结束乐句,而是以 Dm7/G 结束。这是一种非常令人愉悦的声音。

The more interesting substitutions here are the first one and the last one. The first substitution replaces the V7 chord with a IV chord; the use of the sub-dominant (IV) chord results in a softer lead back to the I chord. The last substitution uses an altered chord, so that you’re leading back to tonic with a iim7/V—what I like to call a “Carole King chord.” (That’s because Ms. King uses this type of harmonic structure a lot in her songwriting.) So if you’re in the key of C, instead of ending a phrase with a G or G7 chord, you end with a Dm7/G instead. It’s a very pleasing sound.

功能替代

Functional Substitutions

还有一点要记住。在乐曲的和声背景下,不同的和弦具有不同的功能。三个基本和声功能是主音、次属音和属音,通常分别由 I、IV 和 V 和弦发挥作用。但音阶中的其他和弦也可以发挥相同的功能,即使不如 I、IV 和 V 那么强烈。

Here’s something else to keep in mind. Within the harmonic context of a composition, different chords serve different functions. The three basic harmonic functions are those of the tonic, subdominant, and dominant—typically served by the I, IV, and V chords, respectively. But other chords in the scale can serve these same functions, even if not as strongly as the I, IV, and V.

例如,次属音功能可以由 ii、IV 或 vi 和弦来实现。主音可以由 V 或 vii° 和弦来发挥。主音功能可以由 I、III 或 VI 和弦来实现。所有这些功能如下表所示。

For example, the subdominant function can be served by either the ii, IV, or vi chords. The dominant function can be served by either the V or vii° chords. And the tonic function can be served by either the I, iii, or vi chords. All these functions are shown in the following table.

和弦功能

Chord Function

和弦

Chords

补品

Tonic

一、三、六

I, iii, vi

下属

Subdominant

二、四、六

ii, IV, vi

主导的

Dominant

V, vii°

V, vii°

笔记

NOTE

万一您认为您在上表中发现了错误,vi 和弦可以同时起到主音和次属音的作用。这是一个非常多才多艺的和弦!

Just in case you think you found a mistake in the preceding table, the vi chord can serve both the tonic and subdominant functions. It’s a very versatile chord!

当您在乐曲中有一个具有特定功能的和弦时,您可以将其替换为另一个相同类型的和弦。因此,如果您有一个 IV 和弦,起次属和弦的作用,您可以替换任何其他起次属功能的和弦——ii 或 vi。同样,如果您有 ii 和弦,则可以将其替换为 IV 或 vi。

When you have a chord serving a specific function in a composition, you can replace it with another chord of the same type. So if you have a IV chord, serving a subdominant function, you can substitute any of the other subdominant-functioning chords—the ii or the vi. Along the same lines, if you have a ii chord, you can replace it with either the IV or the vi.

其他功能也是如此。如果您有一个占主导地位的 V 和弦,您可以将其替换为 vii° 和弦,反之亦然。I 和弦具有主音功能,可以用 iii 或 vi 和弦代替,反之亦然。这实际上是进行一些简单和弦替换的相当简单的方法。

The same thing goes with the other functions. If you have a V chord, serving a dominant function, you can replace it with a vii° chord—or vice versa. And a I chord, serving a tonic function, can be replaced by either a iii or a vi chord—and also vice versa. It’s actually a fairly easy way to make some simple chord substitutions.

扭转局面

Turnarounds

第10章还提出了短语结尾节奏的概念。嗯,在爵士乐和流行音乐领域,你会发现一个类似的概念,称为转变。转折通常是一个两小节乐句,每个小节有两个和弦,其功能与传统节奏非常相似,“转转”音乐以在下一个乐句开始时回到 I 和弦。

Chapter 10 also presented a concept of the phrase-ending cadence. Well, in the fields of jazz and popular music, you find a similar concept called a turnaround. A turnaround typically is a two-bar phrase, with two chords per measure, that functions much the same as a traditional cadence, “turning around” the music to settle back on the I chord at the start of the next phrase.

笔记

NOTE

一些爵士音乐家将转变称为折返

Some jazz musicians refer to turnarounds as turnbacks.

您可以使用多种和弦组合来创建令人耳目一新的转折,其中一些和弦组合超出了基本调,回到了主音。

There is a wide variety of chord combinations you can use to create an ear-pleasing turnaround, some of which go outside the underlying key to circle back around to the tonic.

下表提供了一些您可能想要尝试的方法。

The following table offers a few you might want to try.

常见的和弦转位

Common Chord Turnarounds

回转

Turnaround

示例(C 语言)

Example (in C)

I-IV-iii-ii

I-IV-iii-ii

Ⅰ-vi-ii-V

I-vi-ii-V

iii-VI-ii-V

iii-VI-ii-V

I-vi-♭vi-V

I-vi-♭vi-V

I-♭VII-iii-ii

I-♭VII-iii-ii

IV-iii-ii-♭ii

IV-iii-ii-♭ii

I-vi-♭vi-♭II

I-vi-♭vi-♭II

I-VI-♭V-♭III

I-VI-♭V-♭III

I-♭III-♭VI-♭II

I-♭III-♭VI-♭II

I-♭VII-♭III-♭II

I-♭VII-♭III-♭II

请注意,其中一些外键和弦采用传统的小和弦并使其成为大和弦,因此请密切注意表中的大写和小写符号。(例如,III 和弦是 C 调的 E 大调和弦,而不是预期的 E 小调和弦。)

Note that some of these outside-the-key chords take traditionally minor chords and make them major, so pay close attention to the uppercase and lowercase notation in the table. (For example, the III chord is an E Major chord in the key of C, not the expected E minor.)

还要注意和弦之前的降号;这表示弹奏和弦比正常低半音。例如,C 调中的 ♭vi 和弦比标准 A 小调 vi 和弦低半音,这会导致 A♭ 小调和弦。

Also pay attention to flat signs before a chord; this indicates to play the chord a half step lower than normal. For example, a ♭vi chord in the key of C is a half step lower than the standard A minor vi chord, which results in the A♭ minor chord instead.

您可以在您编写或编曲的任何歌曲中使用这些转变。这是一种为您的音乐添加和声复杂度的简单方法,只需更改乐句末尾的几个和弦即可!

You can use these turnarounds in any of the songs you write or arrange. It’s an easy way to add harmonic sophistication to your music, just by changing a few chords at the end of a phrase!

练习

Exercises

练习16-1

Exercise 16-1

写出以下斜线和弦的音符。

Write out the notes for the following slash chords.

练习16-2

Exercise 16-2

写出下列复合和弦的音符。

Write out the notes for the following compound chords.

练习16-3

Exercise 16-3

为所示的每个和弦写两个替代和弦。

Write two substitute chords for each chord shown.

练习16-4

Exercise 16-4

使用扩展和弦重写以下和弦进行(在第二谱表上)。

Rewrite the following chord progression (on the second staff), using extended chords.

练习16-5

Exercise 16-5

使用各种类型的和弦替换重写以下和弦进行(在第二谱表上)。

Rewrite the following chord progression (on the second staff), using various types of chord substitutions.

练习16-6

Exercise 16-6

在接下来的和弦进行中添加两小节的转折。

Add a two-measure turnaround to the following chord progression.

您至少需要知道的

The Least You Need to Know

  • 当您不想演奏无聊的旧和弦进行时,可以使用多种技巧之一来使和弦进行听起来更加和谐复杂。
  • When you don’t want to play a boring old chord progression, you can use one of several techniques to make the chord progression sound more harmonically sophisticated.
  • 为和弦进行增添趣味的最简单方法是将三和弦更改为七和弦或扩展和弦(例如六度、九度、十一度或十三度),并在基本和弦中添加七度和其他扩展。
  • The easiest way to spice up a chord progression is to change triads to seventh chords or extended chords (such as sixths, ninths, elevenths, or thirteenths), and add sevenths and other extensions to the basic chords.
  • 改变和弦声音的另一种方法是改变低音音符,以发出不同的转位信号,或引入稍微不同的和声结构。
  • Another way to change the sound of a chord is to alter the bass note—to either signal a different inversion, or to introduce a slightly different harmonic structure.
  • 用一个和弦替换另一个和弦也可以使和弦进行更有趣。最常见的和弦替换是全音阶和弦,即用原始和弦上方或下方的三分之一和弦替换一个和弦。
  • Substituting one chord for another also can make a chord progression more interesting. The most common chord substitutions are diatonic, in which you replace a chord with the diatonic chord either a third above or below the original chord.
  • 您还可以根据和弦功能执行和弦替换。任何完成主音、次属音或属音功能的和弦都可以被任何其他完成相同功能的和弦所取代。
  • You can also perform a chord substitution based on chord function. Any chord fulfilling a tonic, subdominant, or dominant function can be replaced by any other chord fulfilling the same function.
  • 您可以通过在主乐句末尾引入两小节转折来增加和弦进行的兴趣;这些和弦环绕并引导回到下一个乐句开头的 I 和弦。
  • You can add interest to a chord progression by introducing a two-measure turnaround at the end of the main phrase; these chords circle around and lead back to the I chord at the start of the next phrase.

第十七

CHAPTER

17

特殊符号

Special Notation

在这一章当中

In This Chapter

  • 探索如何用连线标记标注乐句
  • Discovering how to notate phrasing with slur marks
  • 编写和演奏修饰音符,包括转音、颤音和装饰音
  • Writing and playing embellished notes, including turns, trills, and grace notes
  • 学习如何以摇摆的感觉演奏音乐
  • Learning how to play music with a swing feel
  • 将歌词与音乐相结合
  • Fitting words to music

音乐理论的某些方面并不完全符合传统的范畴。尽管如此,你还是需要了解它们,所以我必须将它们包含在本书中的某个地方。

Some aspects of music theory just don’t fit neatly within traditional categories. Still, you need to know about them, so I have to include them somewhere in this book.

某处就是这一章。它是一种更先进的技术的集合,主要与符号相关,即使您不会每天都使用它们,您也需要触手可及。

That somewhere is this chapter. It’s kind of a grab bag of more advanced techniques, mainly relating to notation, that you need to have at your fingertips—even if you won’t use them every day.

因此,坐下来阅读音乐理论的一些奇怪的方面,以及我们称之为摇摆乐的流行音乐风格。

So settle back and read about some of the oddball aspects of music theory, and that popular musical style we call swing.

投掷曲线

Throwing a Curve

当您创作音乐时,有时需要将两个或多个音符连接在一起。您可能会从字面上将它们连接在一起以形成一个较长的音符,或者您可能只是希望它们作为一个流畅的乐句一起演奏。无论如何,每当您将两个或多个音符连接在一起时,您都会使用看起来像大曲线的记谱效果,并且交替地称为连线或连线。

When you’re writing music, you sometimes need to connect two or more notes together. You might literally connect them together to form a single, longer note, or you might simply want them played together as a smooth phrase. In any case, whenever you connect two or more notes together, you use a notation effect that looks like a big curve—and is called, alternately, either a tie or a slur.

领带

Ties

您在第 5 章中了解了关系。当相同音高的两个音符连接在一起时(无论是在同一小节中还是跨小节),这些音符都会作为单个音符演奏。

You learned about ties back in Chapter 5. When two notes of the same pitch are tied together—either in the same measure, or across measures—the notes are played as a single note.

领带由一条小曲线制成,位于音符上方或下方,如下所示:

A tie is made with a small curve, either above or below the note, like this:

两个相同的音符连在一起等于一个长音符。

Two identical notes tied together equal one long note.

圆滑线

Slurs

连线看起来像是两个不同音高音符之间的联系,但实际上表明这些音符将作为一个连续的组一起演奏。虽然您不能将两种不同的音调作为一个连续的音符来演奏,但您可以将它们一起演奏,中间没有呼吸或空格。这称为将音符“连在一起”;它看起来像这样:

A slur looks like a tie between two notes of different pitches, but really indicates that the notes are to be played together as a continuous group. Although you can’t play two different tones as a continuous note, you can run them together without a breath or a space in between. This is called “slurring” the notes together; it looks like this:

两个不同的音符绑在一起会变得含糊不清。

Two different notes tied together are slurred together.

笔记

NOTE

连线中使用的曲线称为连线标记。

The curved line used in a slur is called a slur mark.

两个连在一起的音符和两个不连在一起的音符之间存在细微的差别。没有连线的音符应该每个都有一个单独的起音,这最终听起来像是对每个音符的轻微强调。两个含糊音符中的第二个音符没有单独的起音,因此当您从一个音符演奏到另一个音符时,声音会更加平滑。

There’s a subtle difference between two notes that are slurred together and two notes that aren’t. The notes without the slur should each have a separate attack, which ends up sounding like a slight emphasis on each note. The second of the two slurred notes doesn’t have a separate attack, so the sound is much smoother as you play from note to note.

短语

Phrases

当您看到几个相邻音符上方有一条曲线时,这不是连线,而是短语。您可以使用乐句标记来表示较长音乐片段中的不同想法。当一个想法结束时,你就结束了短语标记;当一个新想法开始时,你就开始一个新的短语标记。

When you see a curved line above several adjacent notes, it’s not a slur—it’s a phrase. You use phrase marks to indicate separate ideas within a longer piece of music. When one idea ends, you end the phrase mark; when a new idea begins, you start a new phrase mark.

许多音符组合在一起,作为一个流畅的乐句来演奏。

Lots of notes grouped together are played as a smooth phrase.

笔记

NOTE

从技术上讲,乐句标记表示一段音乐被连奏——这意味着演奏流畅。

Technically, a phrase mark indicates that a passage of music is played legato—which means to play smoothly.

通常,管乐器(小号、单簧管等)的呼吸基于歌曲的短语。他们会在乐句中吹气,并在乐句标记之间呼吸。

Often, wind instruments (trumpets, clarinets, and so forth) base their breathing on the song’s phrases. They’ll blow during the phrase and breathe between the phrase marks.

拉弦乐器(小提琴、大提琴等)使用乐句来计算拉弦的时间。他们会在整个乐句期间使用一次连续的弓动作;在乐句标记结束时,他们会改变鞠躬的方向。

Bowed instruments (violins, cellos, and so forth) use phrases to time their bowing. They’ll use a single, continuous movement of the bow for the duration of the phrase; at the end of the phrase mark, they’ll change the direction of their bowing.

长与短

The Long and the Short of It

回到第 7 章,您了解了可以对单个音符进行的一些修饰——重音、抑音等。您还可以在笔记中添加更多标记;它们在这里展示。

Back in Chapter 7, you learned about some of the embellishments you can make to individual notes—accents, marcatos, and so on. There are a few more marks you can add to your notes; they’re presented here.

特努托

Tenuto

音符上的水平直线表示将音符演奏完整个音值。换句话说,尽可能延长时间。

A straight horizontal line over a note means to play the note for its full duration. In other words, stretch it out for as long as possible.

这个标记称为tenuto标记,它看起来像这样:

This mark is called a tenuto mark, and it looks like this:

Tenuto 标记的意思是演奏长音符。

The tenuto mark means to play a long note.

断奏

Staccato

长音符的反义词是短音符。与 tenuto 相对的是staccato。音符上方的点表示不完整演奏该音符;只要给它一点点,然后就可以了。

The opposite of a long note is a short note; the opposite of tenuto is staccato. A dot on top of a note means to not play it for its full duration; just give it a little blip and get off it.

断奏标记如下所示:

A staccato mark looks like this:

断奏标记的意思是演奏一个短音符。

The staccato mark means to play a short note.

什么时候笔记不仅仅是笔记?

When Is a Note More Than a Note?

您还可以在音符中添加其他标记,以指示要演奏的其他音符。这些音符是一种音乐速记,你可以用它来代替写出所有那些小得可怜的音符。

There are other marks you can add to your notes that indicate additional notes to play. These notes are kind of musical shorthand you can use in place of writing out all those piddly smaller notes.

优雅音符

Grace Notes

装饰是在主音之前演奏的短音。用数学术语来说,装饰音可能具有十六分音符或三十秒音符的值,具体取决于音乐的节奏。基本上,您可以在主音符之前以稍低的音量演奏装饰音。当您记下装饰音时,请将其作为较小的音符写在主音符前面,如下所示:

A grace note is a short note you play in front of a main note. In mathematical terms, a grace note might have the value of a sixteenth or a thirty-second note, depending on the tempo of the music. Basically, you play the grace note just ahead of the main note, at a slightly lower volume level. When you note a grace note, write it as a smaller note just in front of the main note, like this:

装饰音符就像主音符之前的一个小预览音符。

A grace note is like a little preview note before the main note.

装饰音通常写成小八分音符,并在符干和旗符上画一条线。装饰音可以与主音使用相同的音调,也可以使用相邻的音调。(您可以演奏装饰音所在的任何音符。)

Grace notes are typically written as small eighth notes, with a line drawn through the stem and flag. The grace note can be on the same tone as the main note, or on an adjoining tone. (You play whatever note the grace note is on.)

笔记

NOTE

鼓手将装饰音称为火焰(flam),因为(在鼓上)听起来就是这样的——“fa-lam!”

Drummers call a grace note a flam, because (on a drum) that’s what it sounds like—“fa-lam!”

转弯

Turns

转弯是一种主要用于巴洛克和古典音乐的装饰音反过来,相邻的音符转向主音符,“将其翻转”。

A turn is an ornament used primarily in Baroque and classical music. In a turn, the neighboring notes turn to the main note, “turning it around.”

让我们看看转弯是如何工作的:当您看到转弯标记(看起来像一条自行旋转的线)时,您将演奏主音符上方的全音阶音符,然后是主音符,然后是主音符下方的音符,然后再次是主要注释。以下是它在纸面上的样子,以及在实践中如何发挥它:

Let’s look at how a turn works: when you see the turn mark (which looks like a line turned around on itself), you play the diatonic note above the main note, then the main note, then the note a step below the main note, and then the main note again. Here’s how it looks on paper, and how you play it in practice:

旋转“扭转”主音。

A turn “turns around” the main note.

当你玩一个回合时,你对实际玩的速度有一定的自由度。您可以按照示例中所写的方式演奏一个回合,作为音符所记录的持续时间的纯数学子集;或者你可以快速完成转弯,回到主音高直到音符完成。这都是解释的问题。

When you’re playing a turn, you have a bit of latitude for how fast you actually play it. You can play a turn as written in the example, as a pure mathematical subset of the note’s noted duration; or you can whip through the turn really quickly, landing back on the main pitch until the note is done. It’s all a matter of interpretation.

提示

TIP

如果您不确定如何演奏一首音乐的一个回合,请向您的指挥寻求正确的解释。

If you’re unsure how to play a turn in a piece of music, ask your conductor for the proper interpretation.

颤音

Trills

颤音( s ) 是一种通过两个相邻音调之间交替来扩展单个音符的方法。特别是,您可以在主注释和上面一步的注释之间交替,如下所示:

A trill (s) is a way to extend a single note by alternating between two neighboring tones. In particular, you alternate between the main note and the note one step above, like this:

用一大堆相邻的音符演奏颤音。

Play a trill with a whole bunch of neighboring notes.

与转弯一样,演奏颤音有多种不同的方法。最常见的方法是尽可能快地在两个音符之间交替,尽管从技术上讲,颤音可以有一个准备,即在进入“摇动”之前直接演奏主音符。(您也可以终止颤音,或者直接颤音到下一个音符。)

As with turns, there are many different ways to play a trill. The most common approach is to alternate between the two notes as rapidly as possible, although technically a trill can have a preparation in which you play the main note straight before you enter into the “shake.” (You can also terminate the trill—or just trill right into the next note.)

滑音

Glissandi

转奏和颤音在两个或三个相邻音符之间交替,而滑音则将更多的音符压缩到一个较短的空间中。准确地说,滑奏是一种从一个音高过渡到另一个音高的机制,尽可能流畅地演奏两个音符之间的每个音高。

Whereas turns and trills alternate between two or three neighboring notes, a glissando packs a lot more notes into a short space. To be precise, a glissando is a mechanism for getting from one pitch to another, playing every single pitch between the two notes as smoothly as possible.

笔记

NOTE

在钢琴上,您还可以通过仅弹奏顶部音和底部音之间的白键来“欺骗”滑奏,这样您就可以用手敲击来演奏滑奏。

On the piano, you can also “cheat” a glissando by playing only the white keys between the top and bottom tones—which lets you play a glissando with a stroke of your hand.

根据乐器的不同,滑音可以是两个音符之间的连续滑音(例如长号)或一系列连续的半音音符(例如钢琴)。滑奏(不是滑奏!)可以向上或向下移动;通常,开始和结束音符都被指定,如下所示:

Depending on the instrument, a glissando can be a continuous glide between the two notes (think trombone) or a run of sequential chromatic notes (think piano). Glissandi (not glissandos!) can move either up or down; typically, both the starting and ending notes are specified, like this:

上下滑奏。

Glissando up—and down.

琶音和弦

Arpeggiated Chords

当您希望乐器将和弦作为琶音演奏,但又不想写出所有音符时,可以使用称为“角色”的符号。该角色表明该乐器​​将演奏琶音,但演奏速度相当快。这条波浪线告诉音乐家从下到上连续演奏书面音符,并在演奏时按住每个音符。效果应该类似于竖琴演奏琶音和弦,如下所示:

When you want an instrument to play a chord as an arpeggio, but you don’t want to write out all the notes, you can use the symbol called the role. The role indicates that the instrument is to play an arpeggio—but a rather quick one. This squiggly line tells the musician to play the written notes from bottom to top, in succession, and to hold each note as it is played. The effect should be something like a harp playing an arpeggiated chord, like this:

为琶音伴奏记谱的快速而简单的方法。

The quick and easy way to notate an arpeggiated accompaniment.

进入事物的摇摆

Getting Into the Swing of Things

我想讨论的最后一点符号涉及一种感觉。如果您听过爵士乐,尤其是大乐队音乐,您一定听过这种感觉;这就是所谓的摇摆

The last bit of notation I want to discuss concerns a feel. If you’ve ever heard jazz music, particularly big band music, you’ve heard this feel; it’s called swing.

传统流行音乐给人一种直率的感觉;八分音符是直接弹奏的,就像写出来的一样。Swing有一种三连音的感觉;它摇摆不定,充满弹性,每个节拍都渗透着三个八分音符。

Traditional popular music has a straight feel; eighth notes are played straight, just as they’re written. Swing has a kind of triplet feel; it swings along, all bouncy, percolating with three eighth notes on every beat.

你是说那是什么——每个节拍三个八分音符?这怎么可能?

What’s that, you’re saying—three eighth notes on every beat? How is that possible?

这是可能的,因为 swing 是基于三胞胎的。4/4 小节中不再有八个八分音符,而是十二个八分音符——四个八分音符三连音。因此,每个三连音的第一拍和第三拍结合在一起形成了一种“ span-a-lang-a-lang-a-lang”节奏,而不是直接八分之一拍。

It’s possible because swing is based on triplets. Instead of having eight eighth notes in a measure of 4/4, you have twelve eighth notes—four eighth-note triplets. So instead of the basic beat being straight eighths, the first and third beat of every triplet combine for a spang-a-lang-a-lang-a-lang kind of rhythm.

令人困惑的是,大多数摇摆音乐都使用直接的八分之一记谱法,而不是像实际演奏的那样记下摇摆乐(使用三连音),然后您需要将其转换为基于三连音的摇摆乐。

What’s confusing is that instead of notating swing as it’s actually played (with triplets), most swing music uses straight eighth notation—which you’re then expected to translate into the triplet-based swing.

因此,如果您看到一首摇摆曲并且看到一堆直八度音,您应该以三连音的感觉来演奏它们,如下所示:

So if you’re presented a swing tune and you see a bunch of straight eighths, you should play them with a triplet feel instead, like this:

在摇摆乐中,直八度的演奏具有三连音的感觉。

In swing, straight eighths are played with a triplet feel.

一些编曲者尝试通过使用附点八分音符和十六分音符来近似直线节奏中的摇摆感,如下所示:

Some arrangers try to approximate the swing feel within a straight rhythm by using dotted eighth notes followed by sixteenth notes, like this:

在摇摆乐中,附点八度和十六度的演奏具有三连音的感觉。

In swing, dotted eights and sixteenths are played with a triplet feel.

无论你做什么,都不要完全按照写的那样玩!同样,你必须翻译乐谱并以三连音的感觉来演奏音符。

Whatever you do, don’t play this precisely as written! Again, you have to translate the notation and play the notes with a triplet feel.

挥杆感觉很重要,而且你在任何地方都能找到它。摇摆乐广泛应用于爵士音乐、传统布鲁斯音乐、摇滚洗牌以及各种新旧流行音乐中。学习如何挥杆需要付出一些努力;当你第一次开始演奏时,通常会演奏僵硬的附点八度/十六度节奏而不是滚动三连音。但这种努力是值得的——很多伟大的音乐都是基于这种摇摆的感觉。

The swing feel is an important one, and you find it all over the place. Swing is used extensively in jazz music, in traditional blues music, in rock shuffles, and in all manner of popular music old and new. Learning how to swing takes a bit of effort; it’s normal to play the stiff dotted-eighth/sixteenth rhythm instead of the rolling triplets when you’re first starting out. But that effort is worth it—a lot of great music is based on that swinging feel.

得到这个词

Getting the Word

在结束本章之前,让我们看一下另一个乐谱挑战:如何在音乐中添加歌词。

Before we end this chapter, let’s take a look at one other notation challenge: how to add words to your music.

标记歌词是所有歌曲作者都必须做的事情,如果你逻辑思考的话,这并不难。当然,您希望将特定的单词与音乐中的特定音符对齐。更准确地说,您希望将特定的音节与特定的音符对齐。

Notating lyrics is something that all songwriters have to do, and it isn’t that hard—if you think logically. Naturally, you want to align specific words with specific notes in the music. More precisely, you want to align specific syllables with specific notes.

有时这需要您发挥一点创造力。您可能需要将单词分成看起来很尴尬的音节。您可能还需要在长时间保留音符的单词中扩展音节。这需要在歌词中使用大量连字符,如以下示例所示:

This sometimes requires a bit of creativity on your part. You might need to split up words into awkward-looking syllables. You also might need to extend syllables within words where a note is held for an extended period of time. This requires a lot of hyphens in the lyrics, as you can see in the following example:

标注歌词;音节拆分词和扩展音节。

Notating lyrics; split words in syllables, and extended syllables.

只需记住将歌词放在乐谱下方即可。如果你有多节经文,请将每节经文写在单独的行上;然后将每个单词分解成其组成音节,并仔细地将每个音节与正确的音符相匹配。

Just remember to position your lyrics underneath the music staff. If you have multiple verses, write each verse on a separate line; then break each word into its component syllables and carefully match up each syllable with the proper musical note.

练习

Exercises

练习17-1

Exercise 17-1

写下您将如何弹奏这些标记的音符。

Write out how you would play each of these marked-up notes.

练习17-2

Exercise 17-2

在此旋律中的每个四分音符中添加装饰音。

Add grace notes to every quarter note in this melody.

练习17-3

Exercise 17-3

向该旋律中的每对八分音符添加连线。

Add slurs to each pair of eighth notes in this melody.

练习17-4

Exercise 17-4

使用乐句标记将这段旋律分为四个自然乐句。

Use phrase marks to divide this melody into four natural phrases.

练习17-5

Exercise 17-5

使用三连音记谱法将以下直接节奏转化为摇摆感。

Translate the following straight rhythm into a swing feel using triplet notation.

练习17-6

Exercise 17-6

以 B 调创作并演奏具有摇摆感的四小节旋律。

Compose and play a four-measure melody with a swing feel, in the key of B.

练习17-7

Exercise 17-7

在旋律中相应的音符下方写下以下歌词:“橘色大象高高在天,鳄鱼眼泪在我的啤酒中。”

Write the following lyrics under the appropriate notes in the melody: “Tangerine elephants high in the sky, crocodile tears in my beer.”

您至少需要知道的

The Least You Need to Know

  • 弯曲标记用于将相同的音符连接在一起,将相邻的音符连在一起,并指示完整的音乐短语。
  • Curved marks are used to tie identical notes together, slur neighboring notes together, and indicate complete musical phrases.
  • 音符上方的点表示弹奏较短(断奏);音符上方的横线表示拉长音 (tenuto)。
  • A dot above a note means to play it short (staccato); a line above a note means to play it long (tenuto).
  • 在主音符之前,您可以轻快地弹奏装饰音。
  • You play grace notes lightly and quickly before the main note.
  • 转奏和颤音通过使用快速演奏的相邻音符来装饰主音符。
  • Turns and trills ornament a main note by the use of rapidly played neighboring notes.
  • 滑音表示从一个音高到另一个音高的平滑滑音。
  • A glissando indicates a smooth glide from one pitch to another.
  • 摇摆乐的演奏带有滚动的三连音感觉,而不是直接的八分音符。
  • Swing music is played with a rolling triplet feel, not straight eighth notes.
  • 歌词必须分解为音节,以与音乐中的音符精确契合。
  • Lyrics must be broken down into syllables to fit precisely with notes in the music.

第6部分

PART

6

作曲与编曲

Composing and Arranging

在最后一部分中,您将学习如何创作和编排自己的音乐,为特定的声音和乐器编写音乐,以及制作精美的主乐谱和主乐谱。

In this final part, you learn how to create and arrange your own music, write for specific voices and instruments, and produce good-looking master scores and lead sheets.

第18

CHAPTER

18

音乐流派和形式

Musical Genres and Forms

在这一章当中

In This Chapter

  • 发现古典音乐形式
  • Discovering classical music forms
  • 转向布鲁斯和爵士乐
  • Turning on to blues and jazz
  • 了解更多关于民谣、摇滚、乡村和其他流行音乐的知识
  • Learning more about folk, rock, country, and other popular music

尽管基本音乐理论适用于所有形式的音乐,但了解不同的流派和形式还是有帮助的。是的,四分音符就是四分音符,但是这些音符的组合方式将爵士乐声音与乡村音乐或交响乐声音与当今的流行歌曲区分开来。

Although basic music theory applies to all forms of music, it helps to know the different genres and forms out there. Yes, a quarter note is a quarter note is a quarter note, but how those notes are put together distinguishes jazz sounds from country or symphony sounds from today’s pop songs.

古典音乐

Classical Music

我们对音乐形式的考察从我们大多数人所说的“古典”音乐开始。事实证明,古典音乐有很多不同类型,其中许多与特定的历史时代有关。

Our examination of musical forms starts with what most of us call “classical” music. It turns out there are a lot of different types of classical music, many of them associated with specific historical eras.

多年来的古典音乐

Classical Music Through the Years

外行人倾向于将二十世纪初之前的所有严肃音乐统称为“古典”音乐,无论其何时创作。也就是说,从 1750 年到 1820 年左右一个明显的古典时代,但这并不是唯一创造所谓古典音乐的时代。

Laypeople tend to refer to all serious music prior to the dawn of the twentieth century generically as “classical” music, no matter when it was written. That said, there was a distinct Classical era that ran from 1750 to about 1820, but that wasn’t the only era in which so-called classical music was created.

严肃古典音乐的历史分为以下几个主要时代:

The history of serious classical music is divided into the following major eras:

中世纪(又称中世纪;公元500年至1400年)。这种早期音乐的特点是圣歌和其他简单的非世俗形式的单音音乐。著名的中世纪作曲家包括约翰·邓斯特布尔、莱昂内尔·鲍尔和纪尧姆·德·马肖。

Medieval (also known as the Middle Ages; A.D. 500 to 1400). This early music is characterized by chants and other simple nonsecular forms of monophonic music. Notable Medieval composers include John Dunstable, Lionel Power, and Guillaume de Machaut.

文艺复兴时期(公元1400年至1600年)。文艺复兴时期音乐的特点是复调音乐的兴起,主要是在声乐形式中。著名的文艺复兴时期作曲家包括若斯坎·德·普雷、纪尧姆·杜菲和乔瓦尼·皮耶路易吉·达·帕莱斯特里纳。

Renaissance (A.D. 1400 to 1600). Music from the Renaissance era is characterized by a rise in polyphony, primarily within vocal forms. Notable Renaissance composers include Josquin des Préz, Guillaume Dufay, and Giovanni Pierluigi da Palestrina.

巴洛克风格(公元1600 年至 1750 年)。巴洛克音乐的特点是华丽、装饰性很强的旋律。著名的巴洛克作曲家包括约翰·塞巴斯蒂安·巴赫、乔治·弗里德里克·亨德尔和安东尼奥·维瓦尔第。

Baroque (A.D. 1600 to 1750). Baroque music is characterized by flamboyant, heavily ornamented melodies. Notable Baroque composers include Johann Sebastian Bach, George Frideric Handel, and Antonio Vivaldi.

古典主义(公元1750 年至 1820 年)。这个时代的音乐以简单抒情的旋律为特征,通常以雄伟的管弦乐和合唱作品来表达。最重要的古典作曲家包括路德维希·范·贝多芬、沃尔夫冈·阿玛多伊斯·莫扎特和弗朗茨·约瑟夫·海顿。

Classical (A.D. 1750 to 1820). Music of this era is characterized by simple lyrical melodies, often expressed in majestic orchestral and choral works. The most important Classical composers include Ludwig van Beethoven, Wolfgang Amadeus Mozart, and Franz Joseph Haydn.

浪漫(公元1820年至1900年)。浪漫主义时代的作品的特点是情感的音乐表达和复杂的和声,通常采用半音法并远离传统的调性。著名的浪漫主义作曲家包括约翰内斯·勃拉姆斯、安东尼·德沃夏克、弗朗茨·李斯特、费利克斯·门德尔松、理查德·施特劳斯、彼得·柴可夫斯基和理查德·瓦格纳。

Romantic (A.D. 1820 to 1900). Romantic-era works are characterized by emotional musical expression and sophisticated harmonies, often employing chromaticism and a moving away from traditional tonality. Notable Romantic composers include Johannes Brahms, Antonin Dvořák, Franz Liszt, Felix Mendelssohn, Richard Strauss, Pyotr Tchaikovsky, and Richard Wagner.

二十世纪(1900 年至今)。当代古典音乐不遵循单一的风格,并且在调性、节奏和形式方面经常进行广泛的实验。二十世纪的重要作曲家包括亚伦·科普兰、克劳德·德彪西、贾科莫·普契尼、莫里斯·拉威尔、阿诺德·勋伯格和伊戈尔·斯特拉文斯基。

Twentieth Century (1900 to present). Contemporary classical music adheres to no single style and is often wildly experimental in terms of tonality, rhythm, and form. Important composers of the twentieth century include Aaron Copland, Claude Debussy, Giacomo Puccini, Maurice Ravel, Arnold Shoenberg, and Igor Stravinsky.

古典形式

Classical Forms

每个音乐时代都有其独特的音乐形式。以下是最流行的形式的列表,大致按时间顺序排列:

Each musical era is distinguished by its own unique musical forms. Here’s a list of the most popular forms, in rough chronological order:

平歌。中世纪时期最早的音乐是早期基督教会的僧侣们演奏的无伴奏单音圣歌。这些圣歌基于七种所谓的教会模式——爱奥尼亚、多里安、弗里吉亚、吕底亚、米索利底亚、伊奥利亚和洛克里安。

Plainsong. The earliest music of the Medieval period was an unaccompanied monophonic chant performed by the monks of the early Christian church. These chants were based on the seven so-called church modes—Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian.

弥撒。这是罗马天主教弥撒的音乐,始于公元四世纪。最初由朴素的旋律组成,更现代的弥撒音乐(现代是从十五世纪左右开始)利用了世俗歌曲的旋律。

Mass. This is the music of the Roman Catholic Mass, beginning in the fourth century A.D. Originally consisting of plainchant melodies, more modern Mass settings (modern being from the fifteenth century or so) utilize melodies from secular songs.

笔记

NOTE

公元600 年左右,教皇格列高利一世开始将弥撒标准化,并鼓励教会仪式化地使用音乐。由此产生的圣歌最终被称为格里高利圣歌

Around A.D. 600, Pope Gregory I moved to standardize the Mass and encourage a ritualized use of music by the church. The resulting chant eventually became known as Gregorian chant.

经文歌和大经文歌。经文是一种简短的无伴奏合唱作品,由两个或多个声音组成,流行于十三世纪至十六世纪。在欧洲,经文歌演变成大经文歌,这是一种扩展的形式,将独奏声音(由低音提琴或羽管键琴等连续乐器伴奏)与更大的合唱形成对比。

Motet and grand motet. The motet is a short, unaccompanied choral work for two or more voices, popular from the thirteenth through the sixteenth centuries. In Europe, the motet evolved into the grand motet, an expanded form that contrasts solo voices (accompanied by continuo instruments, such as bass viol or harpsichord) with a larger chorus.

佳能。这种音乐形式可以追溯到文艺复兴时期。它的旋律由各个部分以对位方式定期模仿。将设定视为一种“呼唤与回应”;第一个声音是呼唤或陈述,第二个声音是回应或模仿。

Canon. This musical form dates to the Renaissance era. Its melody is imitated by various parts at regular intervals in contrapuntal fashion. Think of a canon as a type of “call and response”; the first voice is the call or statement, and the second voice is the response or imitation.

牧歌。这首文艺复兴时期的世俗声乐在圣诞节传统中至今仍然存在。典型的牧歌是基于一首诗或其他世俗文本的四到六个声部的复调作品,通常无伴奏。

Madrigal. This piece of secular vocal music from the Renaissance period survives in Christmas traditions to this day. The typical madrigal is a polyphonic composition for four to six voices, typically unaccompanied, based on a poem or other secular text.

芭蕾舞。这是一种娱乐活动,舞者随着音乐表演来讲述故事,或者在某些情况下表达一种情绪。多年来,芭蕾舞音乐已被证明是莫扎特、斯特拉文斯基、柴可夫斯基、威尔第和瓦格纳等严肃作曲家的重要形式。

Ballet. This is an entertainment in which dancers perform to music to tell a story or, in some cases, to express a mood. Over the years, music for the ballet has proven a vital form for serious composers such as Mozart, Stravinsky, Tchaikovsky, Verdi, and Wagner.

奏鸣曲。这首器乐由几个不同且对比鲜明的部分演奏,称为乐章。奏鸣曲通常是为独奏家和小型乐团而写的。

Sonata. This piece of instrumental music is performed in several distinct and contrasting sections, called movements. Sonatas typically are written for a soloist and small ensemble.

协奏曲。这首合奏音乐是针对人声和乐器的,通常是独奏乐器或人声,与管弦乐团形成鲜明对比。它是由维瓦尔第、亨德尔、巴赫及其同行在十八世纪初发展起来的,并一直延续到文艺复兴时期莫扎特、海顿等人的重要作品。

Concerto. This piece of ensemble music is for voices and instruments, typically with a solo instrument or voice in contrast with an orchestral ensemble. It was developed by Vivaldi, Handel, Bach, and their counterparts in the early eighteenth century and continued onward into the Renaissance with important works by Mozart, Haydn, and others.

套房。这种较长的器乐形式包含多个对比鲜明的部分,通常由单独的舞蹈动作构成,通常采用相同的调。

Suite. This longer instrumental form incorporates multiple contrasting sections, typically constructed from individual dance movements, often in the same key.

歌剧。这部歌剧是一部漫长而复杂的戏剧作品,融合了声音和乐器。您可以将歌剧视为当今流行音乐剧的古典版本,将音乐与戏剧情节混合在一起,有点像舞台剧,大部分情节都是通过歌曲来讲述的。

Opera. A long, complex dramatic work, the opera incorporates both voices and instruments. You can think of an opera as the classical equivalent of today’s popular musicals, mixing music with a dramatic plot—kind of like a stage play with much of the plot being told via song.

咏叹调。一首声乐作品(一首歌曲,本质上是歌剧),可以是独立的,也可以是一个较大的声乐作品(一首歌曲,本质上是歌剧)的一部分,而该声乐作品可以是独立的,也可以是一个更大的作品(例如歌剧)的一部分。随着时间的推移,咏叹调变得更长、更复杂,成为歌手的一种展示方式。

Aria. A vocal piece (a song, operatic in nature) that can be either standalone or part of a larger vocal piece (a song, operatic in nature) that can be either standalone or part of a larger work, such as an opera. Over time, arias have become longer and more complex, serving as a type of showcase for the vocalist.

轻歌剧。轻歌剧是一种较新的、不那么沉重的歌剧类型,是一种轻松的娱乐形式,与当时常常不自觉地“沉重”的音乐形成鲜明对比。

Operetta. A newer, less-ponderous type of opera, the operetta is a form of light entertainment that was a definite contrast to the often self-consciously “heavy” music of the times.

清唱剧。这种神圣剧本的戏剧性音乐背景适合独唱者、合唱团和管弦乐队。清唱剧就像一部宗教歌剧,但没有布景或服装;清唱剧通常在音乐厅或教堂演出。

Oratorio. This dramatic musical setting of a sacred libretto is for solo singers, choir, and orchestra. An oratorio is like a religious opera but without the scenery or costumes; oratorios are typically performed in concert halls or churches.

交响乐。交响曲是管弦乐队的延伸作品,通常由三个或四个不同的乐章组成。现代交响曲是一种大型器乐作品,很像管弦乐队的奏鸣曲,通常有四个乐章。

Symphony. An extended work for an orchestra, a symphony typically is in three or four distinct movements. The modern symphony is a large-scale instrumental composition, much like a sonata for orchestra, usually in four movements.

交响诗。这是一部交响音阶的单乐章管弦乐作品。交响诗是浪漫主义时代节目音乐的一种,是一种讲述故事、阐释文学思想或唤起绘画场景的器乐作品。

Symphonic poem. This is a single-movement orchestral work on a symphonic scale. The symphonic poem is a type of Romantic-era programme music—an instrumental work that tells a story, illustrates a literary idea, or evokes a pictorial scene.

室内乐。这部作品是为小型器乐合奏而设计的,旨在在小礼堂或私人住宅中演奏——与雄伟的音乐厅交响乐形成鲜明对比。最流行的室内乐形式之一是弦乐四重奏,由两把小提琴、一把中提琴和一把大提琴组成。

Chamber music. This work is for small instrumental ensembles designed to be played in small halls or private residences—the antithesis of majestic, concert-hall symphonies. One of the most popular forms of chamber music is the string quartet, consisting of two violins, a viola, and a cello.

笔记

NOTE

在我的姊妹书《音乐史完全白痴指南》(Alpha Books,2008 年)中了解有关音乐史的更多信息。

Learn more about the history of music in my companion book, The Complete Idiot’s Guide to Music History (Alpha Books, 2008).

蓝调和爵士乐

Blues and Jazz

现在让我们讨论两种影响和影响了当今几乎所有类型流行音乐的音乐形式——布鲁斯和爵士乐。

Now let’s move to two musical forms that have influenced and informed just about every type of popular music today—blues and jazz.

布鲁斯

The Blues

当您想到布鲁斯时,您可能会想到一个用原声吉他唱歌或用电吉他哭泣的黑人老人。或者您可能会想到一群黑人歌手唱无伴奏合唱。或者您可能会想到酒吧乐队随着布吉伍吉节拍烹饪。

When you think of the blues, you may think of an old black man singing with his acoustic guitar or wailing on an electric. Or you may think of a group of black singers singing a capella. Or you may think of a bar band cooking along to a boogie-woogie beat.

蓝调就是这一切,甚至更多。事实上,这种通常被称为布鲁斯的风格实际上是一个完整的音乐风格家族,它们都起源于十八世纪和十九世纪的非裔美国奴隶社区。

The blues is all of this, and more. In fact, the style commonly called the blues is actually an entire family of musical styles, all sharing similar roots in the African American slave community of the eighteenth and nineteenth centuries.

所有不同的布鲁斯风格都基于“布鲁斯音符”的概念,或者正常大调音阶的扁平音符。这些蓝色音符有助于区分我们所说的布鲁斯音阶。在布鲁斯音阶中,大调音阶的几个音符(第三、第五和第七)被降调。这会在正常音阶音符之间创建所谓的蓝色音符。生成的布鲁斯音阶是一个六音音阶(不包括八度音阶),与大调音阶的关系如下所示:

All the different blues styles are based on the concept of “blue notes,” or the flattened notes of the normal major scale. These blue notes help distinguish what we call the blues scale. In the blues scale, several notes of the major scale—the third, the fifth, and the seventh—are flattened. This creates so-called blue notes between the normal scale notes. The resulting blues scale is a six-note scale (not counting the octave) that looks like this, in relationship to a major scale:

1-♭3-4-♭5-5-♭7

1-♭3-4-♭5-5-♭7

这个布鲁斯音阶的不同寻常之处在于它没有二度或六度,但除了常规的纯五度之外,它还添加了降五度。降三度、降五度和降七度音符(蓝色音符)定义了布鲁斯音阶的颜色。这是传统音乐记谱法的样子,在本例中是 C 布鲁斯音阶:

This blues scale is unusual in that it doesn’t have a second or sixth degree, but it does throw in a flatted fifth in addition to the regular perfect fifth. It’s the flatted third, flatted fifth, and flatted seventh notes—the blue notes—that define the color of the blues scale. Here’s how this looks in traditional music notation, in this instance the C blues scale :

C 布鲁斯音阶。

The C blues scale.

同样独特的是旋律背后演奏的和弦,独特的布鲁斯进行。大多数布鲁斯音乐都遵循经典的 12 小节和弦进行。这种 12 小节形式由三个乐句组成,每个乐句长四小节。从音乐上来说,蓝调进行的和弦是这样的:

Also distinctive are the chords played behind the melody, the unique blues progression. Most blues tunes follow a classic 12-bar chord progression. This 12-bar form is comprised of three phrases, each four bars long. Musically, the chords of the blues progression go like this:

III IV-IV-II V7-IV-II

I-I-I-I        IV-IV-I-I        V7-IV-I-I

这种布鲁斯进行曲被运用在多种形式的流行音乐中,而不仅仅是布鲁斯音乐。你会发现这个进行曲被用在《伟大的美国歌曲集》的许多歌曲中,很多摇滚和乡村音乐,还有很多爵士乐。这是一种独特的多功能和弦进行,有许多流行的变奏。(您在第 10 章中了解了布鲁斯进行。)

This blues progression is utilized in many forms of popular music, not just the blues. You’ll find this progression used in many songs of the Great American Songbook, much rock and country music, and a whole lot of jazz. It’s a uniquely versatile chord progression, with many popular variations. (You learned about the blues progression in Chapter 10.)

爵士乐

Jazz

爵士乐是美国本土的古典音乐。它源自布鲁斯,是这个国家真正本土的音乐风格之一。爵士乐一度成为该国的流行音乐;观众聆听爵士音乐并随着爵士音乐跳舞,就像今天随着摇滚、乡村或嘻哈音乐跳舞一样。

Jazz is America’s homegrown classical music. Derived from the blues, it is one of this country’s truly indigenous musical styles. For a time, jazz was the country’s popular music; audiences listened to and danced to jazz music just as they dance to rock or country or hip hop today.

那么,爵士乐到底是什么?有些人可能将爵士乐定义为即兴独奏的音乐。其他人可能将其定义为具有摇摆节拍的音乐——一种滚动的斯潘斯潘-阿-朗斯潘-阿-朗节奏。但其他类型的音乐以即兴创作为特色,许多爵士乐都有摇滚节奏而不是摇摆节奏。

So, what exactly is jazz? Some people might define jazz as music with improvised solos. Others might define it as music with a swing beat—a rolling spang spang-a-lang spang-a-lang kind of rhythm. But other types of music feature improvisation, and lots of jazz has a rock beat instead of a swing beat.

事实上,爵士乐是多种不同音乐风格的融合,其本身也有多种风格变化。第一支爵士乐于 1885 年至 1915 年间诞生于新奥尔良。这种类型的爵士乐(称为经典爵士乐、新奥尔良爵士乐迪克西兰爵士乐)是从现有的布鲁斯、拉格泰姆和铜管乐队传统中发展而来的。

The truth is that jazz is a blend of several different musical styles and is itself represented by multiple stylistic variations. The first jazz music was born in New Orleans between 1885 and 1915. This type of jazz—call it classic jazz, New Orleans jazz, or Dixieland jazz—grew out of the existing blues, ragtime, and brass band traditions.

笔记

NOTE

在早期爵士乐史上,有一个名字遥遥领先:短号演奏家兼歌手路易斯·阿姆斯特朗。阿姆斯特朗在 1920 年代中期录制的小型合奏唱片,被称为“Hot Fives”和“Hot Sevens”,彻底改变了爵士乐,并开创了艺术大师/独奏者的时代。阿姆斯特朗还开创了散唱的演唱风格,即兴创作无意义的音节而不是实际的歌词。他是第一位在唱片中乱唱的歌手(“Heebie Jeebies”,1926),据称他在录制时掉落了歌词表,被迫即兴创作毫无意义的歌词。

One name towers over all others in the history of early jazz: cornetist and vocalist Louis Armstrong. Armstrong’s small ensemble recordings of the mid-1920s, famously known as the Hot Fives and Hot Sevens, revolutionized jazz music and introduced the era of the virtuosic leader/soloist. Armstrong also pioneered the vocal style of scat singing, improvising on nonsense syllables instead of actual lyrics. He was the first singer to scat sing on record (“Heebie Jeebies,” 1926), when he purportedly dropped his lyric sheet while recording and was forced to improvise nonsense lyrics.

迪克西兰爵士乐很快演变成热爵士乐,将成熟的即兴演奏引入到混音中。20世纪30年代,热门爵士乐演变成摇摆乐,大多数爵士乐队都发展成为由威廉·“伯爵”·贝西、杜克·艾灵顿、本尼·古德曼和阿蒂·肖等传奇人物领导的大乐队。

Dixieland jazz quickly morphed into hot jazz, which introduced full-blown improvisation into the mix. During the 1930s, hot jazz evolved into swing, and most jazz groups grew into big bands led by legends such as William “Count” Basie, Duke Ellington, Benny Goodman, and Artie Shaw.

第二次世界大战后,随着爵士音乐家开始探索更复杂的和声结构,大乐队变得不那么流行。这种名为“比波普”的新音乐以极富创意(且快节奏)的即兴创作为特色,并成为未来几十年爵士乐的主导形式。

Big bands became less fashionable after World War II, as jazz musicians began to explore more complex harmonic structures. This new music, called bebop, featured wildly inventive (and fast-paced) improvisation and became the dominant form of jazz for the next several decades.

后波普爵士乐已经成为一种小众流派,分裂成几种不同的变体。有酷爵士乐(迈尔斯·戴维斯、戴夫·布鲁贝克等人所实践的一种更有旋律性、更理智的方法)、模态爵士乐(基于模式而不是和弦进行)、硬波普(比波普的一种不那么狂热的分支)、灵魂爵士乐(融合爵士乐即兴创作与当代摇滚/灵魂乐节拍),自由爵士乐(具有快节奏和复杂的和弦与和声),融合 (融合爵士乐和摇滚),甚至平滑爵士乐(轻松的爵士乐即兴创作在简单的节拍和和弦上) 。

Post-bop, jazz has become a bit of a niche genre, splintered into several different variations. There’s cool jazz (a more melodic, more intellectual approach as practiced by Miles Davis, Dave Brubeck, and others), modal jazz (based on modes instead of chord progressions), hard bop (a less-frenetic offshoot of bebop), soul jazz (melding jazz improvisation with a contemporary rock/soul beat), free jazz (with fast tempos and complex chords and harmonies), fusion (merging jazz and rock), and even smooth jazz (laid-back jazz improvisation over simple beats and chords).

所有这些变化的共同点是注重即兴创作。归根结底,爵士乐就是独奏和个人表达。

What all these variations have in common is a focus on improvisation. Jazz is, at the end of the day, all about solos and individual expression.

流行音乐

Popular Music

你可能会觉得难以置信,但古典音乐是当时的流行音乐。爵士乐也是如此。但两者都不太受当今听众的欢迎。今天的流行音乐比过去几十年和几个世纪的严肃音乐更简单、更容易理解。我们谈论的是音乐,通常是短歌,它们更容易被听众掌握,也更容易被表演者演奏和演唱。

You might find it hard to believe, but classical music was the popular music of its day. So was jazz. But neither is all that popular with today’s listening audience. Today’s popular music is simpler and more accessible than the serious music of decades and centuries past. We’re talking music, typically short songs, that are more easily grasped by listeners and more easily played and sung by performers.

事实上,流行音乐有很多不同类型,包括:

In reality, there are lots of different types of popular music, including the following:

民间。这是任何基于民间传统的音乐,通常用传统乐器(如原声吉他和班卓琴)演奏。

Folk. This is any music based on the folk tradition, typically played on traditional instruments such as acoustic guitars and banjos.

国家。乡村音乐源自阿巴拉契亚民间音乐和乡村布鲁斯的融合,简单而民谣,通常用吉他和小提琴演奏,并具有独特的声乐音色。随着时间的推移,乡村音乐逐渐演变成各种相关的风格,包括西部摇摆乐(乡村音乐+爵士乐)、乡村音乐(电子音乐+传统乡村音乐+布鲁斯)、蓝草音乐(西部摇摆音乐+传统乡村音乐+乡村音乐)、乡村音乐(乡村音乐) +流行)、乡村摇滚(乡村+摇滚)、另类乡村(传统乡村+下流酒吧+摇滚+民谣)和美式(乡村+民谣)。然后是当今的当代乡村,听起来很像经典摇滚,加上一些钢吉他和小提琴(而且所有的人都戴着牛仔帽)。

Country. Derived from a blend of Appalachian folk music and rural blues, country music is simple and folky, often performed with guitars and fiddles—and a distinct vocal twang. Over time, country evolved through and into a variety of related styles, including Western swing (country + jazz), honky tonk (electric + traditional country + blues), bluegrass (Western swing + traditional country + honky-tonk), countrypolitan (country + pop), country rock (country + rock), alt country (traditional country + honky-tonk + rock + folk), and Americana (country + folk). Then there’s the contemporary country of today, which sounds pretty much like classic rock with a few steel guitars and fiddles thrown in (and with all the guys wearing cowboy hats).

伟大的美国歌曲集。其中包括由专业词曲作者在 1900 年至 1950 年间创作的复杂流行歌曲,通常用于百老汇演出。这些所谓的“锡盘巷”歌曲作者包括欧文·柏林、科尔·波特、乔治·格什温和艾拉·格什温等巨头。

The Great American Songbook. This consists of sophisticated pop songs written by professional songwriters between the years of 1900 and 1950, often for Broadway shows. These so-called Tin Pan Alley songwriters include giants like Irving Berlin, Cole Porter, and George and Ira Gershwin.

岩石。摇滚乐于 20 世纪 50 年代中期出现,磨掉了那个时代黑人音乐的粗糙边缘,使其更适合白人青少年观众。这种新的音乐融合了传统乡村音乐、下流酒吧、电子布鲁斯、跳跃布鲁斯和 R&B 的元素,所有这些元素都与滚动的八分音符节奏混合在一起。从最初的乡村音乐和 R&B 风格,摇滚乐在 20 世纪 60 年代及以后演变成无数的子流派。海滩男孩的冲浪音乐,披头士乐队和滚石乐队的英国入侵,嬉皮迷幻摇滚和迪伦风格的民谣摇滚,然后是重金属迪斯科朋克摇滚以及新浪潮前卫摇滚垃圾摇滚以及许多相关和不相关的变体。

Rock. Rock and roll arrived in the mid-1950s, sanding off the rough edges of that era’s black music to make it more palatable to white teenaged audiences. This new musical stew included elements of traditional country, honky-tonk, electric blues, jump blues, and R&B, all stirred together with a rolling straight eighth-note beat. From those initial country and R&B flavorings, rock evolved into myriad subgenres throughout the 1960s and beyond. There was the surf music of The Beach Boys, followed by the British Invasion of The Beatles and the Rolling Stones, followed by hippie-dippy psychedelic rock and Dylan-inspired folk rock, followed by heavy metal and disco and punk rock and New Wave and progressive rock and grunge and any number of related and unrelated variations.

节奏布鲁斯 (R&B)。这是从 20 世纪 40 年代的蓝调和爵士音乐演变而来的当代黑人音乐。这种音乐以其最初的形式以及后来灵魂乐、放克音乐和当代 R&B 的形式,将黑人文化带给了美国各地的白人听众。

Rhythm and blues (R&B). This is contemporary black music that evolved from the blues and jazz music of the 1940s. In its original form and in later incarnations as soul, funk, and contemporary R&B, this music brought black culture to white audiences across America.

说唱和嘻哈。这种音乐由节奏稳定的口头歌词(即“说唱”)组成。一些说唱歌曲包含通常从其他歌曲中采样的旋律片段。也就是说,说唱音乐是更多的是关于节拍和歌词;仍然有基本的主歌合唱形式,但重点是歌词,而不是音乐。

Rap and hip hop. This music consists of spoken lyrics (that’s the “rap”) over a steady beat. Some rap songs incorporate snippets of melody, often sampled from other songs. That said, rap music is more about the beat and the words than anything else; there’s still a basic verse-chorus form, but the focus is on the lyrics, not on the music.

笔记

NOTE

从 20 世纪 50 年代至今,摇滚音乐可以说是最主要的流行音乐类型。更通用的术语“流行音乐”是指任何类型的流行音乐,通常使用相同的格式,但节拍更轻,乐器更流畅。例如,有人可能会说凯蒂·佩里(Katy Perry)更流行,而不是摇滚,而绿日乐队肯定更摇滚,而不是流行。(甚至不要问巴里·曼尼洛和帕特·布恩……)

Rock music arguably has been the most dominant type of popular music from the 1950s to today. The more generic term “pop music” refers to any type of popular music, typically using the same format but with a lighter beat and smoother instrumentation. For example, one might argue Katy Perry is more pop than rock, whereas Green Day is definitely more rock than pop. (Don’t even ask about Barry Manilow and Pat Boone ….)

练习

Exercises

本章的练习不是传统的问答,而是听力练习。如果您选择接受的话,您的任务就是寻找并聆听代表您刚刚读到的各种音乐类型的录音。聆听作品时,要注意每种音乐的独特之处——思考其形式、复杂程度、乐器类型等。如果您愿意,请写下您的印象,并找到同样感兴趣的人与之讨论。(或者只是认为自己对聆听有更多了解。)为了帮助您开始,我创建了 Spotify 和 YouTube 播放列表,其中包括代表本章讨论的音乐的录音。您可以从本书的网页(位于idiotsguides.com/musictheory)链接到这些播放列表。

Instead of traditional questions and answers, the exercises for this chapter are listening exercises. Your assignment, should you choose to accept it, is to seek out and listen to recordings that represent the various types of music you’ve just read about. Listen to the pieces with an ear toward what makes each type of music unique—think about the form, the level of complexity, the type of instrumentation, and so forth. Write down your impressions, if you like, and find someone equally interested to discuss them with. (Or just consider yourself more informed for doing the listening.) To get you started, I’ve created Spotify and YouTube playlists that include recordings that represent the music discussed in this chapter. You can link to these playlists from this book’s web page, located at idiotsguides.com/musictheory.

您至少需要知道的

The Least You Need to Know

  • 我们所说的“古典”音乐包括来自多个音乐时代的音乐,包括中世纪、巴洛克、文艺复兴、古典、浪漫和二十世纪时代。
  • What we call “classical” music includes music from multiple musical eras, including the Medieval, Baroque, Renaissance, Classical, Romantic, and Twentieth Century eras.
  • 古典音乐有几种重要的类型,包括弥撒曲、经文歌、协奏曲、奏鸣曲、交响曲和歌剧。
  • There are several important types of classical compositions, including Mass, motet, concerto, sonata, symphony, and opera.
  • 布鲁斯音乐和爵士音乐都源自非裔美国人的工作歌曲,并融合了布鲁斯音阶和布鲁斯进行。
  • Blues and jazz music both derive from African American work songs and incorporate the blues scale and blues progression.
  • 欧文·柏林 (Irving Berlin) 和乔治·格什温 (George Gershwin) 等专业歌曲作者为二十世纪初的伟大美国歌曲集贡献了复杂的音乐和歌词。
  • Professional songwriters such as Irving Berlin and George Gershwin contributed sophisticated music and lyrics to the Great American Songbook of the early twentieth century.
  • 流行音乐世界包括多种风格,包括民谣、乡村、摇滚、R&B 和说唱。
  • The world of popular music includes a variety of styles, including folk, country, rock, R&B, and rap.

第19

CHAPTER

19

创作你自己的音乐

Composing Your Own Music

在这一章当中

In This Chapter

  • 发现创作一首音乐所需的工具
  • Discovering the tools you need to compose a piece of music
  • 学习如何使用和弦进行作曲
  • Learning how to compose using chord progressions
  • 了解如何创作强有力的旋律
  • Finding out how to create strong melodies

无论您是在创作摇滚、乡村或民谣,还是创作更长、更严肃的作品(并不是说流行音乐不是严肃的事情),您都会使用相同的元素。所有音乐作品都必须包括旋律和一系列和弦。现在,您可以先写旋律,然后添加和弦,先写和弦,然后添加旋律,或者同时写旋律和和弦,但您需要这两个元素。

Whether you’re writing a rock, country, or folk song, or composing a longer, more serious work (not that pop music isn’t serious business), you work with the same elements. All musical compositions must include a melody and a series of chords. Now, you can write the melody first and then add chords, write the chords first and then add a melody, or write both melody and chords at the same time, but you need both of those elements.

如何将这些旋律和和弦组合在一起决定了您的最终作品。这就是本章的主题:创作音乐。

How you put those melodies and chords together determines your final composition. And that’s what this chapter is all about: composing music.

如何成为一名作曲家

How to Become a Composer

什么是组合?在音乐术语中,作曲是创作音乐作品的艺术。这首音乐可以短如广告歌曲,也可以长如歌剧。它可以是器乐或声乐;它可以是“严肃的”,也可以是商业的,可以是流行的,也可以是前卫的,可以是古典的,也可以是现代的。它可以是摇滚或乡村乐队的三和弦歌曲,也可以是完整管弦乐队和合唱团的复杂作品。简而言之,音乐作品可以是任何你可以哼唱、唱歌或演奏的东西。您可以创造什么,没有任何限制。

What is composition? In musical terms, composition is the art of creating a piece of music. That piece of music can be as short as an advertising jingle or as long as an opera. It can be instrumental or vocal; it can be “serious” or commercial, popular or avant garde, classical or contemporary. It can be a three-chord song for a rock or country band or a complex work for a full orchestra and chorus. In short, a musical composition can be anything you can hum or sing or play. There are no boundaries as to what you can create.

也就是说,你不能只是记下一堆随机笔记并称之为作文。(好吧,你可以,但没有人愿意听。) 好的作品有形式和意义;好的作品有形式和意义。它讲述一个故事,或唤起一种情绪,或带你从一个地方到另一个地方。最好的作品创造了自己独立的现实,其中各个组成部分在整体中相互关联。每个乐句和单个音符都有其存在的理由,所有这些结合起来创造出一个大于各个部分之和的整体。

That said, you can’t just jot down a bunch of random notes and call it a composition. (Well, you could, but nobody would want to listen to it.) A good composition has form and meaning; it tells a story, or invokes a mood, or takes you from one place to another. The best compositions create their own self-contained realities, where individual components relate to and with each other within the whole. There is a reason for each phrase and individual note, all of which combine to create a whole that is more than the sum of the parts.

我喜欢将写作文的过程视为类似于讲故事的过程。由于您可以讲述许多不同类型的故事,因此您可以创作许多不同类型的作品。有些故事涉及一组特定的事实;有些故事则涉及一组特定的事实。其他的则传达了一般的情绪;还有一些只是为了娱乐而存在。一个好的故事以相对有效的方式带你从A点到B点,同时包含足够的无关元素,使旅程变得有趣;通常有人物、地点或其他元素提供颜色和背景。而且,当故事结束时,整个事情通常都有一个要点,值得记住和反思。

I like to think of the process of writing a composition as being similar to telling a story. As you can tell many different types of stories, you can create many different types of compositions. Some stories relate a specific set of facts; others convey a general mood; still others exist merely to entertain. A good story takes you from point A to point B in a relatively efficient fashion, while containing enough extraneous elements to make the journey entertaining; there are often characters or places or other elements that provide both color and context. And, when the story is over, there’s typically a point to the whole thing, something to remember and reflect upon.

笔记

NOTE

歌曲创作是一种特殊类型的音乐和歌词创作。出于本书的目的,我们将严格关注音乐创作,这有点像没有歌词的歌曲创作。

Songwriting is a particular type of composition with both music and lyrics. For the purposes of this book, we’ll focus strictly on musical composition, which is kind of like songwriting without the words.

不同的构图方法

Different Approaches to Composition

当您学习如何创作自己的音乐时,您会发现有多种不同的方式来创作作品。它们都是从一张空白的职员纸(或记谱软件中的虚拟页面)开始,但要求您以不同的方式查看待处理的作文。

As you learn how to write your own music, you’ll discover that there are several different ways to approach a composition. They all start with a blank sheet of staff paper (or virtual page in your notation software), but require you to look at your pending composition in different ways.

没有一种“正确”的方式来开始作曲。有些作曲家采用一种方法,有些则采取另一种方法,有些作曲家则采用两种方法——通常是同时创作和弦和旋律。您选择哪种方法是个人决定。而且您不仅限于一种方法;您可以对不同的作品使用不同的方法。无论您以哪种方式开始,目标都应该是相同的——创作一首在艺术上可行的音乐作品。如何创作每首音乐都是个人选择。

There is no one “correct” way to begin a composition. Some composers take one approach, some another, some work both ways—often by creating the chords and melody simultaneously. Which method you choose is a personal decision. And you’re not limited to just one approach; you can use different approaches for different pieces. Whichever way you start, the goal should be the same—to create an artistically viable piece of music. How you create each piece of music is a personal choice.

如果您认为一首音乐通常是由和弦和旋律(以及在歌曲创作的情况下,歌词)组合而成的,那么您面前有一个简单的选择。您可以首先创建和弦进行并让旋律适合您的和弦,也可以先创建旋律然后让和弦适合该旋律。考虑:

If you consider that a piece of music is typically constructed from a combination of chords and melodies (and, in the case of songwriting, lyrics), then you have a simple choice in front of you. You can start by creating a chord progression and fitting a melody to your chords, or you can start by creating a melody and then fitting chords to that melody. Consider:

首先和弦:也称为和声合成,您首先创建和弦进行,然后将旋律适合这些和弦。这种方法在许多作曲家中很流行,尤其是那些在流行歌曲框架内工作的作曲家。这是因为在创建和弦进行之后,您基本上就拥有了整个乐曲的和声路线图,有助于指导您创建的旋律。不幸的是,一些作曲家倾向于使用和弦进行作为拐杖,并且经常创作简单地勾勒和弦而不是独立的旋律。

Chords first: Also called harmonic composition, you start by creating a chord progression and then fit a melody to those chords. This approach is popular among many composers, especially those working within the framework of the popular song. That’s because after you’ve created a chord progression, you essentially have a harmonic road map for the entire composition that helps to guide the melodies you create. Unfortunately, some composers tend to use a chord progression as a crutch, and often create melodies that simply outline the chords rather than standing on their own.

旋律优先:也称为旋律创作,您首先创建旋律,然后将适当的和弦适合该旋律。当您自己创作旋律时,它不会受到任意和弦进行的和声限制;它可以流向任何需要的地方。这种方法非常尊重旋律的首要地位,而作品的所有其他方面都起着辅助作用。如果你走这条路,你必须运用你的和声知识来协调旋律——也就是说,让和弦进行与旋律相适应。

Melody first: Also called melodic composition, you start by creating a melody and then fit the appropriate chords to that melody. When you craft a melody on its own, it isn’t subject to the harmonic constraints of an arbitrary chord progression; it’s allowed to flow wherever it needs to. This approach is very respectful of the primacy of melody, with all other aspects of the composition taking a subsidiary role. If you go this route, you have to employ your knowledge of harmony to harmonize the melody—that is, to fit a chord progression to the melody.

和弦与旋律在一起:如果您可以通过和弦优先或旋律优先的方法进行创作,为什么不结合这两种方法并立即创作所有内容呢?这就是整体作曲的本质,你一步步进步,同时创造旋律和和声。由于旋律和和弦本质上是相关的,因此如果可以的话,将它们写在一起是有意义的。(这种方法需要对音乐理论有透彻的理解,有很好的耳朵,并且对你想要你的作品去往的方向有很好的感觉,因此对于初学者来说可能不是最好的方法。)

Chords and melody together: If you can approach composition from either a chords-first or melody-first approach, why not combine both approaches and compose everything at once? That’s the nature of holistic composition, where you progress measure-by-measure, creating the melodies and harmonies simultaneously. Since melodies and chords are intrinsically related, it makes sense to write them together—if you can. (This approach requires a thorough understanding of music theory, a very good ear, and a good feel for where you want your composition to go—and thus may not be the best way to go for beginners.)

笔记

NOTE

一些作曲家更喜欢分层方法,首先创建一个声乐或器乐部分,然后在其上分层添加其他部分。构图一点一点地构建,直到构建出一个分层的整体。分层在某些当代音乐形式中使用效果良好;这也是您在计算机上创建的基于循环的音乐中使用的方法,您可以通过将不同的音乐循环分层来构建乐曲。

Some composers prefer a layering approach, where you start by creating one vocal or instrumental part, and then you layer additional parts on top of that. The composition builds piece by piece, until you’ve built a layered whole. Layering is used to good effect with certain contemporary musical forms; it’s also the approach used in loop-based music you create on your computer, where you build a composition by layering different musical loops on top of each other.

学习如何创作自己的音乐

Learning How to Write Your Own Music

要成为一名成功的作曲家,您需要一套特定的技能。特别是,您需要能够操纵任何乐曲的构建块——音符、节奏和和弦。结合起来创作一首音乐。为此,你必须有扎实的乐理基础,以及良好的耳朵。它还有助于拥有一些与生俱来的旋律与和声感,尽管这可以通过适当的训练来培养。

To be a successful composer, you need a certain set of skills. In particular, you need to be able to manipulate the building blocks of any composition—the notes and rhythms and chords that combine to create a piece of music. To this end, you must have a thorough grounding in music theory, as well as a good ear. It also helps to have some innate sense of melody and harmony, although this can be developed with proper training.

一个成功的作曲家还必须具备编排和编排他所写的音乐的能力。作曲很少像旋律和伴奏和弦那么简单。大多数成熟的作品最终都是为一系列乐器编排的,无论是四人摇滚乐队还是完整的交响乐团。因此,您至少需要了解一些不同的乐器,不一定要了解如何演奏每种乐器,而是了解它们的声音和书写方式。(在第 20 章中了解有关编曲和编曲的更多信息。)

A successful composer must also have the ability to arrange and orchestrate the music he writes. Composition is seldom as simple as a melody and accompanying chords; most full-blown compositions are ultimately orchestrated for a range of instruments, whether that’s a four-piece rock band or full symphonic orchestra. So you need to know at least a little bit about a lot of different instruments—not necessarily how to play each one, but rather how they sound and how they’re written. (Learn more about arranging and orchestration in Chapter 20.)

假设您拥有(或学习)这些基本技能,学习如何作曲涉及将各种构建块组合在一起以表达您的音乐愿景。这有点像学习如何写散文或诗歌;一旦您了解了书面语言的组成部分,您就必须学习如何使用这些组成部分以书面形式讲述您的故事。

Assuming you have (or learn) these basic skills, learning how to compose involves fitting the various building blocks together to express your musical vision. It’s kind of like learning how to write prose or poetry; once you know the building blocks of written language, you then have to learn how to use those building blocks to tell your stories in print.

还有创造力的问题。尽管随着时间的推移,您可以学习必要的作曲工具和技巧,但您需要提供自己的创造力和灵感。创作旋律实际上不仅仅是按照一定的顺序排列音符;它还涉及到旋律的创作。最好的旋律来自你内心的某个地方,反映你的个性和经历。毕竟,音乐是一种创造性的努力——创作音乐需要你发挥所有的创造力。

There’s also the issue of creativity. Although you can, over time, learn the necessary compositional tools and techniques, you need to supply your own creativity and inspiration. Creating a melody really is more than just arranging notes in a certain order; the best melodies come from somewhere inside of you, and reflect your personality and experiences. Music is, after all, a creative endeavor—and composing music requires all the creativity you can muster.

用和弦作曲

Composing with Chords

让我们从大多数初学者音乐家和许多词曲作者所采用的方法开始——和声创作。这意味着想出一个朗朗上口的和弦进行,然后为其添加旋律。

Let’s start with the approach that most beginning musicians and many songwriters employ—harmonic composition. That means coming up with a catchy chord progression and then fitting a melody to it.

当您使用和声作曲时,您可以使用任意数量和类型的和弦。您不必将自己限制在音阶或调(全音阶和弦)内的自然和弦或简单的三音三和弦,特别是当您以更现代的形式工作时。您可以探索各种形式的半音和弦和扩展和弦等,甚至是看起来或听起来不像传统和弦的和弦——双音符和声,或没有可辨别音调中心的音符簇。换句话说,整个谐波频谱都可供您使用。

When you’re working with harmonic composition, you can work with any number and type of chords. You don’t have to limit yourself to the natural chords within a scale or key (the diatonic chords) or with simple three-note triads, especially when you’re working in more contemporary forms. You can explore all manner of chromatic chords and extended chords and the like, even chords that don’t really look or sound like traditional chords—two-note harmonies, or note clusters with no discernable tonal center. In other words, the entire harmonic spectrum is available for your use.

也就是说,当您刚开始时,最好在某种结构内工作,以帮助引导您的创造力。一旦您学会了如何在传统和声结构中进行创作,您就可以开始探索非传统和声;您可以使用该结构来帮助磨练您的手艺。

That said, when you’re first starting out, it’s a good idea to work within some sort of structure, to help guide your creativity. Once you’ve learned how to compose within a traditional harmonic structure, you can begin to explore nontraditional harmonies; you use the structure to help hone your craft.

使用和弦引导

Using Chord Leading

产生听起来悦耳的和弦进行的一种简单方法是使用和弦引导。正如您在第 10 章中了解到的,和弦主奏是指某些和弦自然地引向其他和弦的概念。例如,V 或属和弦自然地回到 I(主和弦)。IV 或亚主音可以自然地引向 I、iii、V 或 vii° 和弦。等等。(您在第 10 章中了解了哪些和弦导致哪些和弦。)

One easy way to come up with a pleasant-sounding chord progression is to use chord leading. As you learned in Chapter 10, chord leading is the concept that certain chords naturally lead to other chords. For example, the V or dominant chord leads naturally back to I, the tonic. The IV, or subtonic, can lead naturally to the I, iii, V, or vii° chords. And so forth. (You learned about which chords lead to which in Chapter 10.)

使用和弦引导的最常见方法就是使用和弦引导规则从一个和弦移动到下一个和弦。假设您以 I 和弦开始,它可以引出任何其他和弦。您选择 iii 和弦作为下一个和弦,然后将您带到(以及其他)IV 和弦。IV 和弦引导你到 V 和弦,然后回到 I。这是你的和弦进行:

The most common way to utilize chord leading is simply to use the chord-leading rules to move from one chord to the next. Let’s say you start with a I chord, which can lead to any other chord. You choose the iii chord as the next chord, which then leads you to (among others) the IV chord. The IV chord leads you up to the V chord, and then back to I. And there’s your chord progression:

Ⅲ Ⅳ Ⅴ I

I           iii           IV           V           I

在 C 调中,结果是:

In the key of C, that works out to:

C // / Em // / F // / G // / C // /

C / / /       Em / / /        F / / /        G / / /        C / / /

你也可以稍微改变一下这些和弦主导规则,正如在数千首热门歌曲中使用的进行所示,从“Let It Be”到“Don't Stop Believin'”再到“Hey, Soul Sister”。当然,从 I 开始,然后跳到 V。现在,V应该引导回到 I,但它也可以引导到其他方向,例如向上一级到 vi 和弦。从 vi 移动到 IV,然后从那里回到 I。这就是您得到的结果:

And you can bend those chord-leading rules a bit too, as shown in this progression used in thousands of hit songs from “Let It Be” to “Don’t Stop Believin’” to “Hey, Soul Sister.” Start with the I, of course, but then jump up to the V. Now, the V should lead back to the I, but it can also lead in other directions, such as up one step to the vi chord. Move from the vi to the IV, then from there back home to the I. This is what you get:

四、四、四、我

I           V           vi           IV           I

听起来是这样的,用 C 调:

Here’s how that sounds, in the key of C:

C / / / G / / / Am / / / F / / / C / / /

C / / /       G / / /        Am / / /      F / / /       C / / /

笔记

NOTE

更简单的是,您可以根据第 10 章中详细介绍的常见和弦进行之一来创作您的作品。使用简单的 I-IV-V 或 ii-VI 进行曲调并没有什么问题!

Even easier, you can base your composition on one of the common chord progressions detailed in Chapter 10. Nothing wrong with a simple I-IV-V or ii-V-I progression for your tune!

建立和谐的节奏

Establishing a Harmonic Rhythm

使用基于和弦的作曲会带来一个有趣的问题:您应该多久改变和弦一次?和弦进行的节奏,或者和弦在乐段中的位置短语,称为和声节奏。换句话说,和声节奏决定了你改变和弦的频率和时间。

Working with chord-based composition brings up an interesting question: just how often should you change chords? The pace of a chord progression, or where the chords are placed within a phrase, is called harmonic rhythm. In other words, the harmonic rhythm dictates how often you change chords—and when.

显然,分配给每个和弦的节拍数或小节数并不是一成不变的。例如,您可以为每个和弦编写一个小节的 I-IV-V 进行。或者,您可以写下 I 的两个小节,以及 IV 和 V 各一个小节。或者您可以写下 I 的三个小节,然后在第四个小节中写下 IV 和 V 各两个节拍。或者您可以写 16 个 I 小节、16 个 IV 小节和另外 16 个 V 小节。这一切都取决于您的作品的性质,并有助于提供几乎无限种可能的和弦组合。

Obviously, the number of beats or measures allotted to each chord isn’t set in stone. For example, you could write the I-IV-V progression with a single measure for each chord. Or you could write two measures of I and a measure each of IV and V. Or you could write three measures of I, then two beats each of IV and V in a fourth measure. Or you could write 16 measures of I, 16 measures of IV, and another 16 measures of V. It all depends on the nature of your composition and helps provide an almost infinite variety of possible chord combinations.

和声节奏没有规则。您可以将和弦延伸至任意数量的小节,或在单个小节内频繁更改和弦。您可以在每个小节的第一个节拍或任何辅助节拍上设置和弦变化。如果需要,您甚至可以更改乐观的和弦。

There are no rules for harmonic rhythm. You can extend a chord over any number of measures, or change chords frequently within a single measure. You can set your chord changes on the first beat of each measure or on any subsidiary beat. You can even change chords on the upbeat, if you want.

在较慢的节奏下比在较快的节奏下更频繁地改变和弦是很常见的。将两个或四个和弦放入一个移动较慢的小节中比将其放入快节奏的曲调中更容易。例如,一首快节奏的乡村歌曲可能每两或四小节就有一次和弦变化。另一方面,节奏较慢的民谣可能会在一个小节内每两个节拍改变和弦。当速度较慢时,每个和弦有更多的空间。

It’s common to change chords more often at slower tempos than at faster ones. It’s simply easier to fit two or four chords into one slower-moving measure than it is within a faster-paced tune. A fast-paced country song, for example, might have chord changes every two or four measures. A slower-tempo ballad, on the other hand, might change chords every two beats within a single measure. There’s more space for each chord when the tempo is slower.

和声节奏是确定特定作品的声音和感觉的因素之一。快速的和声节奏通常会决定特定类型的旋律——通常是节奏更快的旋律。较慢的和声节奏会让你的作品更有呼吸感。改变和声节奏将在你的作品中提供对比。使用和声节奏来确定作品的情绪和节奏。

The harmonic rhythm is one factor that establishes the sound and feel of a particular composition. A rapid harmonic rhythm will dictate, more often than not, particular types of melodies—typically faster-moving melodies. A slower harmonic rhythm will let your piece breathe a little more. And varying the harmonic rhythm will provide contrast within your piece. Use harmonic rhythm to establish the mood and pace of your compositions.

提示

TIP

尽管有许多值得注意的例外,但我发现更快的和声节奏有助于创造更有趣的旋律。每当有和弦变化时,就有动力让旋律相应地移动——旋律中的移动越多,它就越有趣。

Although there are many notable exceptions, I find that a somewhat faster harmonic rhythm helps to create more interesting melodies. Whenever there’s a chord change, there is impetus to make the melody move accordingly—and the more movement there is in a melody, the more interesting it is.

让旋律适合你的和弦

Fitting Melodies to Your Chords

当您采用基于和弦的作曲方法时,您创建的和弦进行将成为您稍后构建旋律的框架。但如何让旋律适合你的和弦呢?我们在第 10 章中讨论了其中的一些内容,但让我们在这里讨论更多细节。

When you employ a chord-based compositional approach, the chord progression you create becomes a framework on which you later construct a melody. But just how do you fit a melody to your chords? We discussed some of this back in Chapter 10, but let’s go into more detail here.

一种常见的方法是将旋律建立在和弦的音符上。也就是说,您使用和弦音来定义旋律的主要音符。例如,如果您按住 D 小调几次小节中,您将使用音符 D、F 和 A 来创作您的旋律。然后,您可以添加传递音符和接近音符来连接这些主和弦音。

A common approach is to base your melody on the notes of the chords. That is, you use the chord tones to define the main notes of your melody. For example, if you’re holding a D minor for a few measures, you would work with the notes D, F, and A for your melody. You can then add passing and approach notes to connect these main chord tones.

基于主和弦音的旋律。

A melody based on key chord tones.

您还可以创建利用相邻和弦中的常见音符的旋律。例如,如果您使用流行的 CG-Am-F 进行,请知道前两个和弦具有共同的音符 G,而后两个和弦具有共同的音符 A 和 C。(抱歉,G 和 Am 和弦没有任何共同的音符。)因此,您可以将旋律建立在围绕音符 G 的前两小节中,以及围绕 A 或 C 的最后两小节中。

You can also create a melody that utilizes the common notes in adjacent chords. For example, if you’re using the popular C-G-Am-F progression, know that the first two chords have the note G in common, and the last two have the notes A and C in common. (The G and Am chords don’t have any notes in common, sorry.) So you can base the melody in the first two bars around the note G, and in the last two bars around either A or C.

基于底层和弦中常见音调的旋律。

A melody based on common tones in the underlying chords.

另一种方法是使用强调基础和弦的关键质量的音符。例如,属(V)和弦从根音获得张力,因此要强调这一点。同样,当在大和弦和小和弦之间转换时,通过将旋律基于每个和弦的三度来强调变化。

Another approach is to use notes that emphasize the key quality of the underlying chords. For example, the dominant (V) chord gets its tension from the root, so emphasize that. Similarly, when shifting between major and minor chords, emphasize the changes by basing the melody on the thirds of each chord.

强调基本大调和弦和小调和弦的定义特征的旋律。

A melody that emphasizes the defining features of the underlying major and minor chords.

无论您使用哪种和弦音作为旋律中的主要音符,您都可以逐步使用适当的全音阶音调从一种主要音调过渡到另一种主要音调。例如,如果第一小节的主旋律音是 C,而下一小节的主旋律音是 F,则使用 D 和 E 平滑地从一个小节移动到下一个小节。这些传递的音调使您的旋律更具旋律性,而不是仅仅从一个和弦音跳到下一个和弦音。

Whichever chord tones you use as the major notes in your melody, you can then use appropriate diatonic tones in a step-wise fashion to move from one major tone to another. For example, if the major melodic tone in measure one is a C and the major tone in the next measure is an F, use a D and E to smoothly move from one to the next. These passing tones make your melody more melodic, as opposed to just jumping from one chord tone to the next.

一种使用传递音从一个大调过渡到下一个大调的旋律。

A melody that uses passing tones to move from one major tone to the next.

创作令人难忘的旋律

Making Memorable Melodies

回到第 8 章,我们学习了旋律成为旋律的基础知识。我希望你还记得,旋律是音调和节奏的逻辑连续。将正确的音符按正确的顺序放置,您就拥有了自己的旋律。

Back in Chapter 8, we worked through the basics of what makes a melody a melody. As I hope you recall, a melody is a logical succession of tones and rhythms. Place the right notes in the right order, and you have yourself a melody.

旋律必须具有和声意义,也就是说,旋律的音符必须符合给定的调和所使用的特定和弦。旋律可以上升或下降,但它们必须移动到某个地方,否则你所拥有的只是一个重复的音符。最好的旋律不仅适用于和弦结构,而且定义甚至有时预测歌曲的和弦进行。最好的旋律不仅是可以唱的(或者至少是可以哼出来的,如果你不是一个伟大的歌手),而且还有助于讲述一个故事或营造一种情绪。(您在第 8 章中学习了如何构建简单的旋律。)

A melody has to make harmonic sense—that is, the notes of the melody have to fit within the given key and the specific chords employed. Melodies can go up or down but they have to move somewhere, or else all you have is a single repeated note. The best melodies not only work within the chord structure but define and sometimes predict the song’s chord progression. And the best melodies are not only singable (or at least hummable, if you’re not a great singer) but also help tell a story or set a mood. (You learned about constructing simple melodies in Chapter 8.)

所有这些都给我们带来了一个关键问题:如何才能创作出令人难忘的旋律?

All of this brings us to the key question: how exactly can you create a memorable melody?

球场中心

Center on a Pitch

你不希望你的旋律到处乱跑,就像一只狗在寻找地方做他的事。你想要的更像是一只旋律猎犬,它知道家在哪里,并在一天结束时找到回家的路。

You don’t want your melodies wandering around all over the place, like a dog looking for a place to do his business. What you want is more of a hunting dog of a melody, one that knows where home is and, at the end of the day, finds its way back there.

旋律的“家”需要是特定的音高。当您选择主音时,您的旋律就可以围绕该音高旋转。您可以从该音调开始(尽管不是必须),并且应该以该音调结束。同样重要的是,旋律中的其他音符可以围绕该音调演奏,甚至偶尔落在该音调上。

The “home” of your melody needs to be a specific pitch. When you pick a home pitch, your melody can then revolve around the pitch. You can start on that pitch (although you don’t have to), and you should end on that pitch. Equally important, the other notes in the melody can play around that pitch—and even land on it, occasionally.

请注意,您的主音不必是音阶的主音。你可以把第三个或第五个作为你的家,但可能不是第二个、第六个或第七个,因为它们与主音三和弦 1-3-5 的关系不大。

Note that your home pitch doesn’t have to be the tonic of the scale. You can make the third your home, or the fifth—but probably not the second or sixth or seventh, because they’re less related to the tonic triad of 1-3-5.

例如,听下面的旋律。它采用 G 调,但围绕 B 的主音(音阶的第三音)旋转。

For example, listen to the following melody. It’s in the key of G, but revolves around the home pitch of B—the third of the scale.

G调的四小节旋律,徘徊在音阶的三分之一(B)附近。

A four-measure melody in the key of G, which hovers around the third of the scale (B).

你要避免的是让你的旋律的每个小节都以不同的音高为中心。如果你的旋律以这种方式徘徊,没有中心核心,你将不知道如何结束——你将不知道家在哪里。

What you want to avoid is having each measure of your melody center around a different pitch. If your melody wanders around in this type of fashion, with no central core, you won’t know how to end it—you won’t know where home is.

确保您最终在家

Make Sure You End Up at Home

许多最令人难忘的旋律都使用主音来为旋律流提供逻辑。事实上,如果您的听众能够听到您的部分旋律,并且根据主音的突出程度,在听到旋律之前就哼出旋律的结尾,那就太好了。

Many of the most memorable melodies use the home pitch to lend logic to the melodic flow. In fact, it’s good if your audience can listen to part of your melody and, based on the prominence of the home note, hum the end of the melody before they ever hear it.

当你的旋律没有按照预期的音符结束时,你就会产生一种未解决的紧张感,这可能会让听众感到不安。虽然在旋律中间插入这种紧张是可以的,但你不想以这种紧张结束。你想要解决你的旋律,以便在最后有一种完成的感觉。

When you don’t end your melody on the expected note, you create an unresolved tension that can be unsettling to listeners. Although it’s okay to insert that kind of tension in the middle of your melody, you don’t want to end with that kind of tension. You want to resolve your melody so that there’s a feeling of completion at the end.

你要避免的是漫无目的地徘徊的旋律。让您的耳朵成为您的向导。播放旋律,看看它是否连贯。这有点像写一首好的段落或一首好的诗节;当你完成后,最好的办法就是大声朗读它,看看它是否真的有效。

What you want to avoid is a melody that wanders around aimlessly. Let your ear be your guide. Play over the melody and see if it holds together. It’s a little bit like writing a good paragraph or a good stanza of a poem; when you’re finished, the best thing to do is to read it aloud and see if it really works.

错误的做法是——你不想以未解决的张力来结束你的旋律。

The wrong way to do it—you don’t want to end your melody with unresolved tension.

进入五声音阶

Go Pentatonic

您可以通过坚持给定大调音阶中的五个关键音符(音阶的第一、第二、第三、第五和第六)来使事情变得更加简单。(在 C 大调中,这些音符是 C、D、E、G 和 A。)

You can make things even simpler by sticking to five key notes within a given major scale—the first, second, third, fifth, and sixth of the scale. (In C Major, these notes are C, D, E, G, and A.)

这些音符组合起来形成所谓的五声音阶。(“penta”一词的意思是“五”;五个音调等于五声音阶。)通过仅使用这五个音符,您可以避免音阶中有时会产生和声张力的两个音符(第四个和第七个)。

These notes combine for what is called the pentatonic scale. (The word “penta” means “five”; five tones equal a pentatonic scale.) By using only these five notes, you avoid the two notes in the scale (the fourth and the seventh) that sometimes create harmonic tension.

提示

TIP

在钢琴上,查看和弹奏五声音阶的一个简单方法是严格按黑键弹奏。这五个键——G♭、A♭、B♭、D♭和E♭——组成了G♭五声音阶。

On a piano, an easy way to see and play a pentatonic scale is to play strictly on the black keys. These five keys—G♭, A♭, B♭, D♭, and E♭—comprise the G♭ pentatonic scale.

当您使用五声音阶中的五个音符时,几乎不可能在旋律中插入“错误”的音符。然而,你可能会过度使用这些音符,最终得到听起来有点亚洲风格的曲调,甚至听起来有点像老牛仔电影的主题!

When you use the five notes in the pentatonic scale, it’s virtually impossible to insert a “wrong” note into your melody. However, you can overuse these notes and end up with a vaguely Asian-sounding tune—or even something that sounds a little bit like the theme to an old cowboy movie!

基于 C 五声音阶的旋律。

A melody based on the C pentatonic scale.

找到钩子

Find the Hook

为了让旋律真正令人难忘,需要有一个片段能够真正吸引听众的注意力。在流行音乐中,这被称为“挂钩”,因为它是歌曲中吸引听众的部分。在更传统的音乐中,歌曲的这一部分有时被称为主题并且在整首音乐中重复出现。

For a melody to be truly memorable, there needs to be a piece of it that really reaches out and grabs the listener’s attention. In pop music this is called the hook, because it’s the part of the song that hooks the listener. In more traditional music, this piece of the song is sometimes known as the motif—and is repeated throughout the entire piece of music.

一个主题通常相当短——几个音符(想想电影《黄金三镖客》中塞吉奥·莱昂内主题曲中的五个口哨音符),或者最多一两个小节。当你发现一个好的主题或挂钩时,不要害怕使用它——在整首歌曲中根据需要重复它。

A motif is typically fairly short—a few notes (think of the five whistling notes in Sergio Leone’s theme from the movie The Good, the Bad and the Ugly) or, at longest, one or two measures. When you hit on a good motif or hook, don’t be afraid to use it—repeat it as often as you need, throughout your entire song.

一个简单的四音符主题,在较长的旋律中重复出现。

A simple four-note motif, repeated throughout a longer melody.

创建变体

Create Variations

您可以通过稍微改变主题来在音乐中创建额外的旋律,例如改变其节奏或在音阶中上下移动其音调。你应该保留足够的主要主题,以便听众能够分辨出它来自哪里,但添加足够的变化,以便你创建一个新的但相关的旋律。

You can create additional melodies in your music by varying your motif slightly, such as changing its rhythm or moving its tones up or down in the scale. You should retain enough of the main motif so that listeners can tell where it came from, but add enough variation so that you create a new—but related—melody.

如何改变主题?您可以反转节奏、简化节奏或使节奏更复杂。您可以反转音符(以便旋律上升而不是下降,或者下降而不是上升),或者更改主题中的中间音符,或者将音符向上或向下移动三分之一或五度。简而言之,只要最初的主题没有被变化完全抹去,任何变化都是公平的游戏。

How can you vary a motif? You can reverse the rhythm, simplify the rhythm, or make the rhythm more complex. You can reverse the notes (so that the melody goes up instead of down, or down instead of up), or change the middle notes in the motif, or shift the notes up or down a third or a fifth. In short, just about any variation is fair game, as long as the initial motif isn’t completely obliterated by the variations.

看一下下面的示例,其中前一个示例中的简单四音符主题在节奏和旋律上都有多种变化。

Take a look at the following example, in which the simple four-note motif from the previous example is run through a number of variations—both rhythmically and melodically.

相同的四音符主题,但有变化。

The same four-note motif, with variations.

请记住,您希望您的变体与原始主题相关。如果你离原来的主题太远,它就不再是变奏——而是全新的旋律!

Remember that you want your variations to relate to the original motif. If you get too far away from the original motif, it isn’t a variation anymore—it’s a brand-new melody!

让它动起来

Make It Move

好的旋律不只是坐在那里;它去某个地方。您可以通过音调的“运动”有节奏地或音调地推动旋律。从这个意义上说,运动是指音高向上或向下的渐进方向,或者有些人所说的音乐线的轮廓。

A good melody doesn’t just sit there; it goes someplace. You can propel a melody rhythmically, or tonally, through the “motion” of the tones. In this sense, motion refers to the progressive upward or downward direction of the pitches, or what some call the contour of a line of music.

思考旋律向上或向下运动的一个好方法是查看起始音符和结束音符,同时暂时忽略中间的所有音符。要创建向上移动的旋律,请确保结束音符至少比起始音符高三分之一(最好是五分之一或更多)。向下移动的旋律也是如此;强制最后一个音符低于第一个音符。

A good way to think about the upward or downward motion of a melody is to look at the starting note and the ending note—while ignoring, for the time being, all the notes in between. To create an upward-moving melody, make sure the ending note is at least a third (and ideally a fifth or more) higher than the starting note. Same thing with a downward-moving melody; force the last note to be lower than the first one.

第一个音符和最后一个音符之间的所有音符都可以帮助您转到最后一个音符。这些音符不必全部朝同一个方向,但它们必须逐渐向上或向下移动到您想要结束的位置。

All the notes between the first and last notes help you move to that final note. The notes don’t all have to go in the same direction, but they do have to gradually move up or down to where you want to end.

带有向上运动的旋律。

A melody with upward motion.

请注意,旋律可以在同一个音符上开始和结束。您可以做的就是使旋律的中点高于或低于开始/结束音高。如果您选择一个中点较高时,前半段旋律会向上移动,后半段会使用向下移动回到主音。

Note that it’s okay to have a melody that starts and ends on the same note. What you can do is make the midpoint of the melody higher or lower than the starting/ending pitch. If you choose a higher midpoint, the first half of the melody will have upward movement, and the last half will use downward movement to return to the home pitch.

采取小步骤

Take Small Steps

最容易唱的旋律是小步前进的,这意味着每个音符与前一个音符仅相距一两步。旋律中音符之间的步长越小,旋律听起来就越抒情。

The most singable melodies progress in small steps, which means each note is only a step or two away from the previous note. The smaller the steps between the notes in your melody, the more lyrical your melody will sound.

笔记

NOTE

以半步或全步进行的旋律使用所谓的步进或联合运动。以大于整个音阶的跳跃进行的旋律使用所谓的跳跃或分离运动。

A melody that progresses in half or whole steps uses what is called step-wise or conjunct motion. Melodies that progress by leaps larger than a whole step use what is called skip-wise or disjunct motion.

当你在旋律中加入大的跳跃(三步或更多步)时,它开始听起来很随机,并且变得更难以演奏或演唱。最好在您选择的音阶内使用一系列传递音符从一个主音符移动到另一个主音符。

When you throw large jumps—of three or more steps—into your melody, it starts sounding random, and becomes much more difficult to play or sing. It’s much better to use a series of passing notes within your chosen scale to move from one main note to another.

显然,这不是一个硬性规定。(无论如何,每条规则都注定要被打破!)例如,想想《彩虹之上的某个地方》、《月亮河》或《当你向星星许愿》。所有这些歌曲的旋律都有从五度到整个八度的跳跃。因此,如果你知道自己在做什么,那么跳跃是可以的——尽管小步骤更适合经验不足的歌曲作者。

Obviously, this isn’t a hard-and-fast rule. (And every rule is meant to be broken, anyway!) Think, for example, of “Somewhere Over the Rainbow,” or “Moon River,” or “When You Wish Upon a Star.” All of these songs feature leaps of anywhere from a fifth to an entire octave in their melodies. So it’s okay to leap, if you know what you’re doing—although small steps are better suited for less-experienced songwriters.

旋律中的小步和大跳跃——小步听起来更抒情,也更容易唱。

Small steps and large leaps in a melody—the small steps sound more lyrical and are easier to sing.

留在范围内

Stay in Range

您不想在旋律中包含太多音符。如果最低音符和最高音符之间的距离太宽,歌手将很难唱出您的所有旋律,并且您的旋律将开始听起来随机且脱节,没有归属感。

You don’t want to cover too many notes in your melody. If the distance between the lowest note and the highest note is too wide, singers will have trouble singing all of your melody—and your melody will start to sound random and disjointed, without a home.

例如,考虑一下美国的国歌“星条旗永不落”。弗朗西斯·斯科特·基(Francis Scott Key)将他的话写进了一首曲子中,一首旋律范围相当广泛的曲子。想想这首歌有多难唱——有多少训练有素的歌手都很难唱出所有音符。这首歌的宽广音域并不意味着它是一首糟糕的歌曲;它是一首好歌。它只是使它成为更难唱或演奏的歌曲之一。

Consider, for example, America’s national anthem, “The Star-Spangled Banner.” Francis Scott Key put his words to one whopper of a tune, one that has a rather wide melodic range. Think of how hard this song is to sing—and how many well-trained vocalists have trouble hitting all the notes. The broad range in this song doesn’t make it a bad song; it just makes it one of the more difficult songs to sing or play.

笔记

NOTE

具有讽刺意味的是,《星条旗永不落》的旋律来自一首名为“天堂中的阿那克里翁”的英国饮酒歌曲。也许喝几品脱英国啤酒后更容易达到高音!

Ironically, the melody of “The Star-Spangled Banner” comes from an English drinking song called “Anacreon in Heaven.” Maybe the high notes are easier to hit after a few pints of British ale!

因此,如果可能的话,请将旋律中的最低音符和最高音符保持在一个八度以内(或者最多在一个八度和一个三分之一以内)。您还应该考虑您正在编写的声音或乐器的绝对范围,并尝试保持在该范围内。(要了解有关声音和乐器范围的更多信息,请参阅第 20 章。)

Thus, if at all possible keep the lowest and highest notes in your melody within an octave of each other (or at most, within an octave and a third). You should also consider the absolute range of the voice or instrument you’re writing for, and try to stay within that range. (To learn more about voice and instrument ranges, turn to Chapter 20.)

音域太宽的旋律,真的很难唱!

A melody with too wide a range—really hard to sing!

建立并解决紧张局势

Set Up—and Resolve—Tension

最常见的旋律技巧之一是将旋律分为两个部分,并在第一部分中建立和声张力,然后在第二部分中解决。这给了你的旋律一种独特的形式,以及它自己的内在逻辑;它还有助于将旋律从第一部分推进到第二部分。

One of the most common melodic techniques is to divide your melody into two parts, and set up a harmonic tension in the first part that is then resolved in the second part. This gives your melody a distinct form, and its own internal logic; it also helps to propel the melody from the first part to the second.

制造紧张感的一种方法是以音阶主音以外的方式结束旋律的第一部分。(当您考虑和弦结构时,您会发现通过以 IV 或 V 和弦而不是主音结束旋律的第一部分来实现张力。)实际上,您可以通过以第二个和弦结束乐句来创建张力,音阶的第五或第七个音符——如果您正在阅读的话,它们对应于音阶的 V 和弦中的音符。

One way to create tension is to end the first part of your melody on something other than the tonic of the scale. (When you factor in the chord structure, you find that tension is achieved by ending the first part of the melody on a IV or V chord instead of on the tonic.) Practically, you can create tension by ending a phrase with the second, fifth, or seventh notes of the scale—which correspond to the notes in the scale’s V chord, if you’re reading ahead.

第二小节的半音产生张力;接下来的两小节解决了紧张局势。

The half note in measure two creates tension; the next two bars resolve the tension.

然后,您必须通过将旋律的第二部分控制回音阶的主音或主音三和弦(I 和弦)中的一个音符来缓解这种紧张。主音三和弦中的音符是音阶的主音、第三音和第五音,尽管主音和第三音可能更适合缓解紧张。(那是因为五度音是一个不明确的音符,在 I 和弦和 V 和弦中都使用。)

You then have to relieve this tension by manipulating the second part of your melody back to the tonic of the scale—or to one of the notes in the tonic triad (the I chord). The notes in the tonic triad are the tonic, third, and fifth of the scale, although the tonic and the third probably work better for relieving tension. (That’s because the fifth is an ambiguous note, used both in the I chord and the V chord.)

无论如何,当你演奏旋律时,你都能听到紧张感。只要回顾一下德沃夏克的《新世界交响曲》或《迈克尔,划船上岸》就知道了。就此而言,“玛丽有一只小羊羔”也有这种内在张力,紧接在“玛丽有一只小羊羔,小羊羔,小羊羔”之后,并以“玛丽有一只小羊羔,它的羊毛是洁白如雪。”

In any case, you can hear the tension when you play a melody. Just look back to Dvořák’s New World Symphony or “Michael, Row the Boat Ashore.” For that matter, “Mary Had a Little Lamb” also has this type of internal tension, coming right after “Mary had a little lamb, little lamb, little lamb,” and resolved with “Mary had a little a lamb, whose fleece was white as snow.”

这是一种流行的技术——因为它有效!

It’s a popular technique—because it works!

笔记

NOTE

传奇歌曲作家吉米·韦伯 (Jimmy Webb) 在他的著作《Tunesmith: Inside the Art of Songwriting》(Hyperion,1998)中表示,写出有趣旋律的关键是“引导耳朵走上一条既令人愉悦又在某种程度上出乎意料的道路”。(强调他的。)我完全同意。最好的旋律听起来很熟悉,但仍然设法在沿线的某个地方给我们带来惊喜;他们在平衡重复性和多样性方面做得很好。

Legendary songwriter Jimmy Webb, in his book Tunesmith: Inside the Art of Songwriting (Hyperion, 1998), says that the key to writing interesting melody is “to lead the ear on a path which is both pleasant and to some degree unexpected.” (Emphasis his.) I agree wholeheartedly. The best melodies sound familiar yet still manage to surprise us somewhere along the line; they do a good job balancing repetition and variety.

跟随言语

Follow the Words

驱动旋律的另一个因素是歌词的存在。当然,如果你正在写一首器乐,你就不必担心跟不上歌词。但如果你正在写一首流行歌曲,你就必须同时处理音乐和歌词——以及它们如何结合在一起。

Another factor that can drive a melody is the presence of lyrics. If you’re writing an instrumental, of course, you don’t have to worry about following the words. But if you’re writing a popular song, you have to deal with both music and words—and how they fit together.

您希望您的音乐与您的文字相符。从最简单的意义上来说,这意味着安排音乐的节奏,使其符合歌词的自然节奏。您不希望您的歌手被迫使用尴尬的措辞来将所有音节放入给定的空间中。大多数单词和短语都有自然的节奏,并且会向您暗示节奏。确保您的音乐节奏符合这种抒情节奏,特别是避免在小节的重音部分(例如强拍)上放置非重音单词或音节。

You want your music to fit with your words. In the simplest sense, this means arranging the rhythm of the music so that it fits the natural rhythm of the words. You don’t want your singers to be forced into awkward phrasing to fit all the syllables into a given space. Most words and phrases have a natural pace, and will suggest a rhythm to you. Make sure your music’s rhythm fits this lyric rhythm—in particular, avoid putting an unaccented word or syllable on an accented part of the measure, like the downbeat.

将和弦与旋律相匹配

Fitting Chords to a Melody

如果您使用旋律方法进行创作,那么现在您的旋律需要一些和弦。如何为给定的旋律找到合适的和弦?这里有一些可以尝试的事情。

If you use the melodic approach to composition, you now have a melody that needs some chords. Just how do you find the right chords for a given melody? Here are a few things to try.

尝试显而易见的

Try the Obvious

将和弦添加到现有旋律的一种快速方法是尝试将一个或多个常见的和弦进行适合您的旋律。检查第 10 章中介绍的流行和弦进行,看看其中是否有适合您编写的旋律。您会惊讶地发现有多少旋律符合 I-IV-V 进行!

One quick way to add chords to an existing melody is to try to fit one or more common chord progressions to your melody. Examine the popular chord progressions presented back in Chapter 10, and see if any of them fit the melody you’ve written. You’d be surprised how many melodies fit with the I-IV-V progression!

例如,您可以看到以下旋律的向下进行如何轻松地适应 I-vi-IV-V 进行。您可以尝试其他级数(例如 I-vi-ii-V),但当您找到合适的时,您就可以回家了。

For example, you can see how the downward progression of the following melody fits easily within the I-vi-IV-V progression. You can try other progressions (such as I-vi-ii-V), but when you find a good fit you’re home free.

为 I-vi-IV-V 和弦进行定制的旋律。

A melody made to order for the I-vi-IV-V chord progression.

使用旋律大纲

Use the Melodic Outline

猜测正确的和弦进行并不是很复杂,即使它经常能让你到达你想去的地方。一种更具分析性的方法是解构你的旋律,寻找隐含和声的线索。从本质上讲,您要做的就是去除所有装饰音调,并创建最重要或结构音调的旋律轮廓。旋律轮廓的结构音调通常会暗示潜在的和弦。

Guessing at the right chord progression isn’t very sophisticated, even if it often gets you where you want to go. A more analytical approach is one that deconstructs your melody, looking for clues to an implied harmony. What you want to do, in essence, is strip out all the embellishing tones and create a melodic outline of the most important, or structural, tones. The structural tones of the melodic outline will quite often suggest the underlying chords.

在大多数情况下,每个结构音都是底层和弦三和弦的音符之一。您可以尝试在每个结构音调周围安装和弦,使该音调充当三个可能和弦中的根音、第三音或第五音。

In most cases each structural tone will be one of the notes of the underlying chord triad. You can try fitting chords around each structural tone, having that tone function as either the root, the third, or the fifth of the three possible chords.

例如,假设您处于 C 大调,旋律中的结构音之一是 C。按照全音阶工作,您可以将该 C 放入 C 大调和弦(作为根音)、A 小调和弦中和弦(作为第三和弦),或 F 大调和弦(作为第五和弦)。因此,对于旋律轮廓中的任何结构音调,您都有三种可能适合的全音阶和弦。在旋律中分别弹奏三个和弦,看看哪一个最适合。

For example, let’s say you’re in the key of C Major and one of the structural tones in your melody is a C. Working diatonically, you can fit that C into either a C Major chord (as the root), an A minor chord (as the third), or an F Major chord (as the fifth). So for any structural tone in your melodic outline, you have three possible diatonic chords that could fit. Play each of the three chords in the context of the melody, and see which one fits best.

将三个可能的和弦安装到一个结构音上。

Fitting three possible chords to a single structural tone.

让我们从完整的旋律开始看一个例子。当我们将旋律简化为其结构音调时,您可以看到它们为底层和声创建了一个框架。通过反复试验的过程,我们选择了那些首先听起来最好的和弦,其次在作品的框架内产生最和谐的感觉。

Let’s work through an example, starting with a full melody. When we reduce the melody to its structural tones, you can see that they create a framework for the underlying harmony. Through a process of trial and error, we choose those chords that, first, sound best and, second, make the most harmonic sense within the framework of the composition.

从你的完整旋律开始......

Start with your complete melody …

...然后提取装饰音调以创建旋律轮廓...

… then extract the embellishing tones to create a melodic outline …

...并为每个结构音调合适的和弦。

… and fit the proper chords to each of the structural tones.

例如,一旦到达最后一个小节,您必须确定哪个和弦适合 C 音符。您可以选择 F(IV 和弦)、Am(vi 和弦)或 C(I 和弦)。您要问的问题是前面的 V 和弦(相对于 D)是否更有可能导致 IV、vi 或 I?

For example, once you get to the final measure, you have to determine which chord to fit with the C note. You could choose F the IV chord), Am (the vi chord), or C (the I chord). The question you have to ask is whether it’s more likely that the preceding V chord (against the D) would lead to the IV, the vi, or the I?

如果您还记得您的和弦理论,您可以非常确定 VI 进行(古老的完美节奏)比任何其他选择都更有意义,因此您可以将 C 与 C (I) 和弦进行协调。当然,这涉及一些猜测,但该理论应该提供至少一种可能的方法。您可以通过弹奏整个旋律的和弦来测试您的和声;如果听起来不错,那么您就做出了正确的选择。(如果没有,请再试一次!)

If you remember your chord theory, you can be pretty sure that a V-I progression (the good old perfect cadence) makes more sense than any of the alternatives, so you harmonize that C with a C (I) chord. There’s some guesswork involved, of course, but the theory should provide at least one possible way to proceed. You can test your harmonization by playing the chords against the entire melody; if it sounds good, you made the right choices. (If not, try again!)

您的和弦选择与原始旋律相符。

Your chord choices, fit against the original melody.

向后工作

Work Backward

这是另一个更容易协调的技巧:逆向工作。是的,您通常可以使用基本的和弦主导理论,从乐句中的最后一个和弦向后推算出正确的和弦进行。请记住,大多数传统旋律乐句都以主音和声结束。这意味着旋律乐句中的最后和弦通常会成为 I 和弦。然后,您可以找出通向 I 和弦(可能是 V 和弦)的节奏,并使用您在第 10 章中学到的和弦引导规则从那里向后进行。通过这种方法,您可以相当快地解码一半的和声。

Here’s another trick for easier harmonization: work backward. That’s right, you can often figure out the proper chord progression by working backward from the final chord in a phrase, using rudimentary chord-leading theory. Remember that most traditional melodic phrases end on the tonic harmony. This means that the final chord in your melodic phrase, more often than not, will be a I chord. You then can figure out the cadence leading to the I (probably a V chord), and work backward from there using the chord leading rules you learned in Chapter 10. With this approach you can have half the harmony decoded fairly quickly.

例如,如果您假设该旋律以 I 和弦结束,那么倒数第二个和弦应该是 V 和弦。哪些和弦最适合引出 V 和弦?尝试一下 ii(V 的属音),你会发现它有效。哪个和弦引向 ii 和弦?有一些,但请再次尝试 ii 的主音 - vi 和弦。这也有效。那么如何调到 vi 和弦呢?没有什么比 I 更能引导 vi,而且因为我会坐在该短语的第一拍上,所以你知道这是最好的(如果不是唯一的)选择。通过向后工作,您已经将 I-vi-ii-V7-I 进行曲融入了您的旋律中。

For example, if you assume that this melody ends on the I chord, then the penultimate chord should be the V chord. What chords best lead to a V chord? Try the ii (the dominant of the V), and you’ll see that it works. Which chords lead to the ii chord? There are a few, but again try the dominate of the ii—the vi chord. This also works. And how do you get to the vi chord? There’s nothing like a I to lead to a vi, and since that I would sit on the very first beat of the phrase, you know that’s the best (if not the only) choice. By working backward, you’ve fit a I-vi-ii-V7-I progression to your melody.

从最后开始(以 VI 节奏)并使用和弦引导理论从那里向后进行。

Start at the end (with a V-I cadence) and use chord-leading theory to work backward from there.

笔记

NOTE

协调旋律时,不要让事情变得过于复杂。这意味着从简单的三和弦开始,而不是复杂的扩展和弦。您以后随时可以添加扩展,但是使用简单的三音符和弦会限制可用的和弦,这意味着您必须使用更少的选项。

When harmonizing a melody, don’t make things more complicated than they have to be. This means starting with simple triads, rather than complex extended chords. You can always add extensions later, but working with simple three-note chords puts a limit on the available chords, which means you have to work through fewer options.

练习

Exercises

练习 19-1

Exercise 19-1

以 F 调编写一个八小节和弦进行,以 I 和弦开始和结束,并包括 IV 和 V 和弦。

Write an eight-bar chord progression in the key of F that starts and ends with the I chord and includes both the IV and V chords.

练习19-2

Exercise 19-2

写一个 G 调的八小节和弦进行,以 ii 和弦开始,以 I 和弦结束,不包括V 和弦。

Write an eight-bar chord progression in the key of G that starts with the ii chord, ends with the I chord, and does not include the V chord.

练习19-3

Exercise 19-3

使用 C 大调音阶、4/4 拍子,以 C 调创作一首八小节旋律。使用全音符、二分音符、四分音符和八分音符;并在 C 音符上开始和结束旋律。

Compose an eight-bar melody in the key of C, using the C Major scale, in 4/4 time. Use whole notes, half notes, quarter notes, and eighth notes; and begin and end your melody on the C note.

练习19-4

Exercise 19-4

使用 G 大调音阶,以 4/4 拍子创作一首 G 调的八小节旋律。使用二分音符、四分音符、八分音符和十六分音符,使其成为节奏相对较快、节奏活泼的旋律。

Compose an eight-bar melody in the key of G, using the G Major scale, in 4/4 time. Make this a rhythmically lively melody at a relatively fast tempo, using half notes, quarter notes, eighth notes, and sixteenth notes.

练习19-5

Exercise 19-5

创作一段旋律以适应您为练习 19-1 编写的和弦进行。

Compose a melody to fit the chord progression you wrote for Exercise 19-1.

练习19-6

Exercise 19-6

创作一段旋律以适应您为练习 19-2 编写的和弦进行。

Compose a melody to fit the chord progression you wrote for Exercise 19-2.

练习19-7

Exercise 19-7

为练习 19-3 编写的旋律进行和声(添加和弦)。

Harmonize (add chords to) the melody you wrote for Exercise 19-3.

练习19-8

Exercise 19-8

为练习 19-4 编写的旋律进行和声(添加和弦)。

Harmonize (add chords to) the melody you wrote for Exercise 19-4.

您至少需要知道的

The Least You Need to Know

  • 您可以通过先编写和弦进行然后添加旋律(和声创作)或先编写旋律然后添加和弦进行(旋律创作)来创建乐曲。
  • You can create a composition by writing the chord progression first and then adding a melody (harmonic composition) or writing the melody first and then adding a chord progression (melodic composition).
  • 使用和弦主奏和其他和声技巧来创建合乎逻辑的和弦进行。
  • Use chord leading and other harmonic techniques to create a logical chord progression.
  • 最好的旋律具有逐步的移动、可唱的范围和一定程度的重复。
  • The best melodies feature step-wise movement, a singable range, and some degree of repetition.
  • 要和谐旋律,请使用结构音并尝试一些常见的和弦进行。
  • To harmonize a melody, use structural tones and try some common chord progressions.

第20

CHAPTER

20

安排声音和乐器

Arranging for Voices and Instruments

在这一章当中

In This Chapter

  • 发现合唱团中的不同声音以及管弦乐队中的所有乐器
  • Discovering the different voices in the choir—and all the instruments in the orchestra
  • 发现最好的和最差的书写键
  • Uncovering the best—and the worst—keys to write in
  • 找出哪些乐器听起来不适合音乐会音调,以及如何将它们的音乐移调
  • Finding out which instruments don’t sound in concert pitch—and how to transpose their music
  • 学习如何为常见的声乐和器乐合奏作曲
  • Learning how to write for common vocal and instrumental ensembles

除非你是为自己的无伴奏独奏声音写作,否则你最终将处理如何让其他声音和乐器演奏你的音乐。这可能是弄清楚如何用四人摇滚乐队来攻击歌曲,为教堂合唱团创作简单的声乐编排,为高中爵士乐队编排复杂的作品,或者编排多声部交响曲。

Unless you’re writing for your own unaccompanied solo voice, you’re going to eventually deal with how to have other voices and instruments play your music. This could be figuring out how to attack a song with a four-piece rock band, creating a simple vocal arrangement for your church choir, arranging a sophisticated piece for your high school jazz band, or orchestrating a multipart symphony.

无论您与多大的团队一起工作,您都必须处理相同的理论问题,并调用相同的技能。您还必须了解一些关于每种乐器或声音的音域,以及每种乐器如何演奏您写下的音符。

Whatever size group you’re working with, you have to deal with the same issues of theory, and call on the same set of skills. You also have to know a little bit about the ranges of each instrument or voice, and how each instrument will play the notes you write.

本章讨论编排声乐和器乐所需的特殊技巧。我建议您为本章添加书签;如果您进行大量整理,您会发现这些信息非常有用!

This chapter deals with the particular skills necessary for arranging vocal and instrumental music. I recommend you bookmark this chapter; if you do a lot of arranging, you’ll find the information very useful!

声乐编曲

Vocal Arranging

声乐合奏可能是最容易安排的团体类型。这是因为所有的声音都准确地再现了你所写的内容,绝对没有换位。(好吧,除了男高音听起来比书面声音低八度这一事实之外,但这很容易处理。)

A vocal ensemble is probably the easiest type of group to arrange for. That’s because all the voices reproduce exactly what you write, with absolutely no transposition. (Well, except for the fact that the tenor voice sounds an octave lower than written—but that’s an easy one to deal with.)

声音特征

Voice Characteristics

当你为合唱团写作时,你必须了解可用的声音。一般来说,您有两个女性声音和两个男性声音,还可以选择使用第三个男性声音。

When you’re writing for a choir, you have to know the voices available. In general, you have two female voices and two male voices, with an optional third male voice to work with.

女高音。这是最高的女声。女高音通常唱领唱部分,因为最高的声音自然会从其他声音中脱颖而出。有些女高音可以唱得很高,尽管您可能想避开音域的最上游;这些高音部分通常听起来很刺耳,尤其是对于年轻或经验不足的歌手来说。

Soprano. This is the highest female voice. The soprano typically sings the lead part, as the highest voice naturally stands out from the rest. Some sopranos can sing quite high, although you might want to avoid the very upper reaches of the range; these high parts often sound shrill, especially with younger or less-experienced singers.

阿尔托。中音是女低音,音调低沉、洪亮。中音音域与女高音音域重叠,但要知道女低音在其音域的顶部听起来会紧张,就像女高音在其音域的底部听起来会紧张一样。

Alto. The alto is the lower female voice, with a deep and resonant tone. The alto range overlaps the soprano range, but know that an alto will sound strained at the top of her range—just as a soprano will sound strained at the bottom of hers.

男高音。男高音是男声最高的声音;它与女低音的音域明显重叠。次中音部分是用高音谱号写的,但实际上听起来比写的低八度。

Tenor. The tenor is the highest male voice; it overlaps significantly with the range of the female alto. Tenor parts are written in treble clef, but actually sound an octave lower than written.

男中音。男中音为可选男声部分;大多数合唱没有单独的男中音线。男中音介于男高音和男低音之间,但通常具有更多类似低音的声音 - 没有非常低音。

Baritone. The baritone is an optional male part; most choruses don’t have separate baritone lines. The baritone falls smack between the tenor and the bass, but typically has more of a basslike sound—without the very low notes.

低音。低音是最低沉的男声。将低音音符分配给低音声音是很自然的,大多数时候效果都很好。在低音范围的低端,声音有点隆隆声。

Bass. The bass is the lowest male voice. It’s natural to assign bass notes to the bass voice, which works out okay most of the time. At the low end of the bass range, the sound gets a tad rumbly.

主要声部(女高音、女低音、男高音和男低音)组合成所谓的 SATB 形式,这是大多数合唱作品的编排方式。如果您有一个年轻或技术较差的乐团,您总是可以安排一个简单的两部分乐谱,所有女性演唱一个部分,所有男性演唱另一部分。

The main voices (soprano, alto, tenor, and bass) combine into what is called SATB form, which is how most chorale works are arranged. If you have a younger or less skilled ensemble, you can always arrange a simple two-part score, with all the females singing one part and all the males singing the other.

音域

Vocal Ranges

写出可以实际演唱的声乐部分很重要。如果这个可怜的家伙能完全击中音符,那么写出听起来很勉强的低音部分是没有好处的。

It’s important that you write vocal parts that can actually be sung. It’s no good to write a bass part that sounds forced—if the poor fellow can hit the note at all.

因此,请密切注意下表中列出的范围,并在编写声乐部分时遵守这些范围。

For that reason, pay close attention to the ranges listed in the following table and stick within these ranges when writing your vocal parts.

音域

Vocal Ranges

嗓音

Voice

范围(音乐会音高)

Range (Concert Pitch)

写下来 …

Write It …

女高音

Soprano

音乐会音调

Concert pitch

阿尔托

Alto

音乐会音调

Concert pitch

男高音

Tenor

比音乐会音高高一个八度(除非与贝斯共用一根工作人员)

One octave above concert pitch (unless sharing a staff with the basses)

男中音

Baritone

音乐会音调

Concert pitch

低音

Bass

音乐会音调

Concert pitch

器乐编曲

Instrumental Arranging

当您继续进行乐器编排时,您可以使用许多不同的乐器。您需要了解一些关于每种乐器的工作原理,特别是乐器的音域以及它是否以音乐会音高发出声音或以某种方式移调。

When you move on to instrumental arranging, you have a lot of different instruments at your disposal. You need to know a little bit about how each instrument works—in particular, the range of the instrument and whether it sounds in concert pitch or is somehow transposed.

仪器特性

Instrument Characteristics

仪器通常分为几个主要组。出于我们的目的,我们将研究弦乐(弓弦乐器和弹拨乐器)、铜管乐器、木管乐器、键盘乐器和打击乐器。

Instruments are typically organized into several major groups. For our purposes, we’ll look at strings (both bowed and plucked), brass, woodwinds, keyboards, and percussion.

弦乐

Strings

当您想到弦乐器时,您通常会想到小提琴及其近亲:中提琴、大提琴和低音提琴(有时称为低音提琴立式低音提琴)。这些乐器的工作原理相同,都是在空心琴体上拉伸四根琴弦。当弓在琴弦上推拉或拨动琴弦时,就会发出音乐。

When you think of stringed instruments, you typically think of the violin and its close cousins: the viola, cello, and double bass (sometimes called the string bass or upright bass). Each of these instruments works on the same principle, with four strings stretched over a hollow body. Music is made when a bow is pushed and pulled over the strings, or when the strings are plucked.

最高的弦乐声音是小提琴,其次(按降序)是中提琴、大提琴和低音提琴。小提琴是用高音谱号写的;大提琴和低音提琴使用低音谱号;中提琴——这个乐队中的怪人——使用中音谱号,如下图所示。(请记住,中音谱号的尖端部分指向 C。)

The highest string voice is the violin, followed (in descending order) by the viola, cello, and double bass. The violin is written with the treble clef; the cello and double bass use the bass clef; and the viola—the oddball of the group—uses the alto clef, as shown in the following figure. (Remember, the pointy part of the alto clef points at C.)

中音谱号;主要由中提琴使用。

The alto clef; used primarily by the viola.

这些乐器用途极其广泛,既可以独奏,也可以合奏。特别有用的是,它们的音色在乐器的整个范围内保持非常恒定。如果您打算为弦乐写很多东西,那么您有必要了解更多有关乐器如何工作的知识,特别是各种类型的弓法。

These are exceptionally versatile instruments, equally capable of both solo and ensemble work; especially useful is the fact that their tone color stays very constant over the entire range of the instrument. If you plan on writing a lot for strings, it behooves you to learn more about how the instruments work, in particular the various types of bowings.

吉他和其他弹拨乐器

Guitars and Other Plucked Instruments

从技术上讲,吉他属于弦乐家族的一部分,尽管大多数人将其与小提琴类乐器区分开来。那是因为吉他从来都不是弓弦的。它总是被拨动或扫动。(与小提琴乐器的四根弦相比,吉他也有六根弦。)

The guitar is technically part of the string family, although most folks differentiate it from the violin-type instruments. That’s because the guitar is never bowed; it’s always plucked or strummed. (The guitar also has six strings, compared to the four strings of the violin instruments.)

其他几种乐器也属于吉他类别。曼陀林和尤克里里比吉他更小、音调更高,而电贝司更像传统的低音提琴,但采用类似吉他的配置,只有四根弦。

Several other instruments fit within the guitar category. The mandolin and ukulele are smaller and higher pitched than the guitar, whereas the electric bass is more like a traditional double bass, but in a guitar-like configuration with just four strings.

当然,吉他可以是原声吉他,也可以是电吉他,而电吉他可以是实心的,也可以是空心的。不同的配置会产生不同类型的声音,尽管所有不同吉他的符号都是相同的。

Guitars, of course, can be either acoustic or electric—and the electric ones can have either solid or hollow bodies. The different configurations produce different types of sound, although the notation is the same for all the different guitars.

吉他声部可以用五线谱上的音符来表示,或者,如果您只想弹奏节奏,则可以使用和弦符号。您还可以使用吉他指法谱拼出每个和弦的指法,如下所示。

Guitar parts can be notated with notes on staves or, if you just want a strummed rhythm, by using chord notation. You can also spell out the fingering of each chord by using guitar tablature, as shown in the following.

吉他谱。

Guitar tablature.

提示

TIP

当您使用计算机化的音乐记谱程序时,例如第21 章中讨论的那些,吉他谱可以自动从传统的和弦记谱导出。

Guitar tabs can be automatically derived from traditional chord notation when you use a computerized music notation program, such as those discussed in Chapter 21.

哦,当我们谈论拨弦时,我们不能忘记竖琴。竖琴并不是真正的吉他(它有点像钢琴,但是是垂直的),但当你拨动琴弦时它确实可以工作。

Oh, and while we’re talking about plucking strings, we can’t forget the harp. The harp isn’t really a guitar (it’s kind of like a piano, but vertical), but it does work when you pluck its strings.

木管乐器

Woodwinds

有些木管乐器是由黄铜制成的;有些木管乐器是由黄铜制成的。有些是木头做的。但所有乐器(长笛除外)都使用木簧片来发声;你把簧片放进嘴里吹,直到它振动。

Some woodwind instruments are made of brass; some are made of wood. But all (except the flute) use a wooden reed to produce their sound; you put the reed in your mouth and blow until it vibrates.

当你吹过一个开放的孔时,笛子会发出声音——有点像吹过一个汽水瓶。但它仍然被归类为木管乐器家族的一部分,可能是因为它具有类似的阀门结构和确定单个音符的指法。

The flute produces sound when you blow across an open hole—kind of like blowing across a soda bottle. But it’s still classified as part of the woodwind family, probably because it has a similar valve structure and fingering for determining individual notes.

有许多不同的木管乐器。你有长笛和短笛,至少四种不同类型的萨克斯管,各种单簧管,那些听起来奇怪的双簧管和巴松管,甚至还有不太常见的英国号(它不是号,甚至不是英国号) ——这是双簧管的中音版本)。

There are lots of different woodwind instruments. You have flutes and piccolos, at least four different types of saxophones, a variety of clarinets, those odd-sounding oboes and bassoons, and even the not-so-common English horn (which isn’t a horn and isn’t even English—it’s an alto version of the oboe).

木管乐器主要使用高音谱号,尽管巴松管和低音大管都使用低音谱号。

Woodwind instruments primarily use the treble clef, although the bassoon and contrabassoon both use the bass clef.

黄铜

Brass

铜管乐器通常由黄铜制成;然而,萨克斯管、铙钹和定音鼓也是如此,而且它们不属于铜管乐器家族,所以这确实不是一个好的指标,不是吗?不,铜管乐器的独特之处在于,铜管的长度缠绕在一个紧密的小包装中,您吹入的开放式吹口(而不是木管乐器的簧片),以及您使用的三个或四个阀门(与改变嘴唇的形状)来创造不同的音调。

Brass instruments typically are made of brass; however, so are saxophones and cymbals and timpani, and they’re not part of the brass family, so that really isn’t a good indicator, is it? Nope, what makes brass instruments unique is that length of brass tubing wound up into a tight little package, the open mouthpiece you blow into (instead of the reed of a woodwind instrument), and the three or four valves you use (in conjunction with changing the shape of your lips) to create different tones.

小号是铜管家族里傲慢又烦人的弟弟,长号是比较稳重的哥哥,大号是不总是严肃的叔叔。周围还有奇怪的外来关系、圆号和其他一些不寻常的亲戚,例如男中音。总而言之,这是一支相当响亮、粗鲁的乐队——双关语。

The trumpet is the brash and annoying younger brother of the brass family, the trombone is the more stable older brother, and the tuba is the not-always-serious uncle. Also hanging around is the weird foreign relation, the French horn, and a few other unusual relatives, such as the baritone. All in all, it’s a rather loud and brassy bunch—pun intended.

铜管乐器使用高音谱号或低音谱号,具体取决于其主音高。

Brass instruments use either the treble or bass clefs, depending on their predominant pitch.

笔记

NOTE

尽管小号传统上是 B♭ 乐器,但如今许多演奏者使用 C 小号来演奏音乐会音高。

Although the trumpet is traditionally a B♭ instrument, many players today use C trumpets that sound in concert pitch.

键盘

Keyboards

取决于你问的是谁,键盘乐器实际上是弦乐器或打击乐器。事实上,两者兼而有之。声音是由内部琴弦产生的,这些琴弦由小锤子敲击,就像敲击打击乐器一样。

Depending on whom you ask, keyboard instruments are really string instruments or percussion instruments. In reality, they’re a little of both. The sounds are produced by internal strings, which are struck by tiny hammers—much like percussion instruments are struck.

键盘有许多不同类型,而且它们的范围都相当广泛。当然,钢琴是最重要的,但你也不能忘记风琴、羽管键琴或任何数量的电子合成器。一架完整的钢琴有 88 个琴键;一些较小的乐器可能有较短的键盘。无一例外,所有现代键盘乐器都以一致的音高发出声音。

There are many different types of keyboards, and they all have fairly wide ranges. The piano, of course, is the big dog, but you can’t forget about organs, harpsichords, or any number of electronic synthesizers. A full piano has 88 keys; some smaller instruments can have shorter keyboards. Without exception, all modern keyboard instruments sound in concert pitch.

我们不要忘记最新类别的键盘,即被称为合成器的电子乐器。合成器可以是模拟的(通过振荡器和其他电子设备创建新的声音)或数字的(通常采样然后再现其他乐器的真实声音)。数字合成器可以用来取代其他乐器,特别是当您在预算范围内作曲时,或者创造几乎无限种全新的声音。

And let’s not forget the newest category of keyboards, those electronic instruments known as synthesizers. Synthesizers can be either analog (creating new sounds via oscillators and other electronics) or digital (typically sampling and then reproducing the real-world sounds of other instruments). Digital synthesizers can be used to replace other instruments, especially when you’re composing on a budget, or to create a virtually unlimited variety of wholly new sounds.

打击乐器

Percussion

当您谈论打击乐时,您谈论的是许多不同的乐器。打击乐器在敲击或摇动时会发出声音,因此该家族包括从军鼓和铙钹到马林巴和定音鼓的各种乐器。大多数打击乐器的音高不定,也就是说,尽管敲击(或摇动)它们时会发出噪音,但这种噪音与特定的音高无关。其他打击乐器,例如定音鼓和木槌家族,确实会产生确定的音高(或多个音高)。

When you talk percussion, you’re talking about a lot of different instruments. Percussion instruments make noise when you hit them or shake them, so the family includes everything from snare drums and cymbals to marimbas and timpani. Most percussion instruments are of indefinite pitch—that is, although they make a noise when you hit them (or shake them), that noise isn’t associated with a specific pitch. Other percussion instruments, such as timpani and the mallet family, do produce a definite pitch (or pitches).

当您为不定音高乐器写作时,您不必遵循标准五线谱。例如,当您为鼓组创作时,您可以将五线谱的不同部分分配给鼓组中的不同鼓和铙钹。在下面的示例中,低音鼓是五线谱的底部空间;小军鼓位于上方第三个空间。铙钹位于顶部,以 X 形音符头表示。

When you’re writing for an indefinite pitch instrument, you don’t have to follow standard staff notation. For example, when you write for drum set, you assign different parts of the staff to different drums and cymbals in the set. In the following example, the bass drum is the bottom space on the staff; the snare drum is the third space up. Cymbals are at the top, notated by X-shaped note heads.

为鼓组写作。

Writing for drum set.

当然,您可以通过告诉鼓手您的歌曲的每个部分有多少个小节并让他(或她)自己组成自己的部分来节省大量时间和麻烦。当您安排摇滚或爵士乐队时,这种情况尤其常见。

Of course, you can save yourself a lot of time and trouble by just telling the drummer how many measures there are in each section of your song and letting him (or her) make up his (or her) own part. That’s particularly common when you’re arranging for a rock or jazz band.

换位

Transposition

许多乐器读取一个音符并演奏另一个音符——至少与音乐会音高(钢琴上演奏的实际音符)相比是这样。例如,小号读为 C,但听起来为 B♭。这些所谓的移调乐器需要将它们的音乐移调到不同的调,以便与所有其他乐器在相同的音乐会调上演奏。

Many instruments read one note and play another—at least compared to concert pitch (the actual notes as played on a piano). For example, a trumpet reads a C but sounds a B♭. These so-called transposing instruments need to have their music transposed to a different key to play in the same concert key as all the other instruments.

我们再拿小号来说。由于小号发出的声音总是比所写的低大二度,因此您需要将小号部分写得比您实际想要听到的音高高一大二度(两个半音)。所以如果你想让小号演奏音乐会C,你就必须写D;喇叭吹出D,吹出C,世界一切都好。

Let’s take the trumpet again. Because the trumpet always sounds a major second lower than written, you need to write the trumpet part a major second (two half steps) higher than the pitch you actually want to hear. So if you want the trumpet to play a concert C, you have to write a D; the trumpet reads D, sounds C, and everything is right with the world.

您在第 14 章中了解了换位,您需要在这里应用这些技能。那是因为有很多乐器不是用协奏曲调演奏的;以下所有乐器都需要调换其零件。

You learned about transposition back in Chapter 14, and you’ll need to apply those skills here. That’s because there are a lot of instruments that don’t play in concert key; all the following instruments need their parts transposed.

大多数移调乐器分为三组,并根据它们与 C 的关系来命名:

Most transposing instruments fall into three groups and are named according to how they relate to C:

B♭ 乐器,如小号,听起来比其书面音高低大二度。也就是说,它们是在音乐会音高之上写的大二度。因此,如果其中一种乐器演奏 C,它在音乐会音调中听起来就是 B♭。

B♭ instruments, like the trumpet, sound a major second below their written pitch. That is, they’re written a major second above the concert pitch. So if one of these instruments plays a C, it comes out sounding as B♭ in concert pitch.

E♭ 乐器,如中音萨克斯,听起来比其书面音高低大六度(或高小三度)。也就是说,它们被写成高于音乐会音高的大六度。因此,如果其中一种乐器演奏 C,它在音乐会音调中听起来就是 E♭。

E♭ instruments, like the alto sax, sound a major sixth below (or a minor third above) their written pitch. That is, they’re written a major sixth above the concert pitch. So if one of these instruments plays a C, it comes out sounding as E♭ in concert pitch.

F 乐器,例如圆号,听起来比其书面音高低一个完美的五度。也就是说,它们被写成高于音乐会音高的完美五度。因此,如果其中一种乐器演奏 C,那么它在音乐会音调中听起来就是 F。

F instruments, such as the French horn, sound a perfect fifth below their written pitch. That is, they’re written a perfect fifth above the concert pitch. So if one of these instruments plays a C, it comes out sounding as F in concert pitch.

下表详细说明了哪些工具属于哪个组。

The following table details which instruments fall into which group.

移调乐器

Transposing Instruments

移调类型

Transposing Type

声音

Sounds

仪器

Instruments

降B调乐器

B-flat instruments

大二度低于书面值

Major second lower than written

低音单簧管(实际上是大九度)

Bass clarinet (actually a major ninth lower)

低音萨克斯管

Bass saxophone

单簧管 (B♭)

Clarinet (B♭)

短号

Cornet

弗鲁格号

Flugelhorn

高音萨克斯管

Soprano saxophone

次中音萨克斯管(实际上是大九度)

Tenor saxophone (actually a major ninth lower)

喇叭

Trumpet

降E调乐器

E-flat instruments

大六度低于书面

Major sixth lower than written

中音单簧管

Alto clarinet

中音萨克斯管

Alto saxophone

男中音萨克斯管(实际上是大调第十三低)

Baritone saxophone (actually a major thirteenth lower)

E♭ 单簧管(实际上是高三度)

E♭ clarinet (actually a minor third higher)

F仪器

F instruments

低于书面的纯五度

Perfect fifth lower than written

英国号

English horn

圆号

French horn

笔记

NOTE

实际上,变调的数量比此表中列出的要多得多,尤其是在古典音乐中使用的乐器中。例如,莫扎特、海顿和同时代的其他作曲家经常使用D大调小号。这是因为早期的小号和圆号没有阀门,因此可用的音符数量有限。然后,作曲家会选择一种变调,为每种乐器提供最佳的可用音符选择。

There are actually many more transpositions than listed in this table, especially among the instruments used in classical music. For example, trumpets in D were often used by Mozart, Haydn, and other composers of their time. This is because early trumpets and horns had no valves, so there were only a limited number of notes available on them. A composer would then choose a transposition that gave him the best selection of available notes for each instrument.

除了少数例外,此处未列出的乐器都是非移调的,也就是说,它们演奏的声音与书面上的音调完全一样。非移调乐器的最好例子是钢琴。你读中音 C,弹奏中音 C,钢琴听起来是中音 C——无需移调。

With a few exceptions, instruments not listed here are nontransposing—that is, what they play sounds exactly as written, in concert pitch. The best example of a nontransposing instrument is the piano; you read middle C, you play middle C, the piano sounds middle C—no transposing necessary.

就实际换位而言,这一切意味着什么?下表详细介绍了每种类型的乐器如何移调每个可能的音乐会调。为每种乐器列出的调是您为该乐器编写的调,以便发出音乐会调。(例如,对于 C 调,您可以将 B♭ 乐器写入 D 调,将 E♭ 乐器写入 A 调,将 F 乐器写入 G 调。)

What does all this mean in terms of actual transposition? The next table details how each type of instrument transposes each of the possible concert keys. The key listed for each instrument is the key that you write for that instrument in order to sound the concert key. (For example, for the concert key of C, you would write a B♭ instrument in the key of D, an E♭ instrument in the key of A, and an F instrument in the key of G.)

音乐会调调

Concert Key Transpositions

当您为移调乐器编写部分时,您可以通过更改乐曲的调来预先完成所有移调。也就是说,您不必单独移调每个音符;而是单独移调每个音符。移调是通过改变移调乐器的调号来完成的。例如,如果一首乐曲采用 C 大调的音乐会调,您将用 D 大调写小号声部。

When you write a part for a transposing instrument, you do all the transposing up front, by changing the key of the piece. That is, you don’t transpose each and every note individually; the transposition is done by shifting the key signature for the transposing instrument. For example, if a composition is in the concert key of C Major, you would write the trumpet part in D Major.

正如您在第 14 章中了解到的,当今所有的乐谱程序都会自动为您执行这种移调,从而省去了您手动移调所有乐器的麻烦。使用 Finale 或 Sibelius 等程序,您可以以音乐会音高编写整个作品,然后让程序以乐器的移调音高创建单独的输出。简单的!

As you learned in Chapter 14, all of today’s music notation programs will automatically perform this transposition for you, saving you the trouble of transposing all the instruments manually. With a program like Finale or Sibelius, you can write the entire piece in concert pitch and then have the program create individual output in the instruments’ transposed pitch. Easy!

好钥匙和坏钥匙

Good Keys and Bad Keys

由于需要移调非音乐会调性乐器,最终可能会导致某些乐器读取一大堆升号和降号,这当然是有问题的。例如,A 的协奏调有三个升号,对于非移调乐器来说相对容易读取。但对于B♭乐器,例如小号,移调键是B,它有五个升号,读起来很费力。因此,您可能希望避免以 A 的音乐会调进行创作,除非您想对您的小号部分进行真正的锻炼!

Because of the need to transpose the nonconcert key instruments, you can end up with some instruments reading a whole bunch of sharps and flats, which of course is problematic. For example, the concert key of A has three sharps, and is relatively easy for nontransposing instruments to read. But for B♭ instruments, such as trumpets, the transposed key is B, which has five sharps and is a bear to read. For that reason, you probably want to avoid composing in the concert key of A—unless you want to give your trumpet section a real workout!

一般来说,您需要进行安排,以便没有乐器读取超过三个升号或降号。考虑到这一挑战,下表显示了最佳和最差的作曲键。

In general, you want to arrange things so no instrument is reading more than three sharps or flats. Taking this challenge into account, the following table shows the best—and the worst—keys to compose in.

音乐会的好与坏调

Good and Bad Concert Keys

好钥匙

Good Keys

可接受的钥匙

Acceptable Keys

坏钥匙

Bad Keys

E♭

E♭

C

C

D♭

D♭

F

F

G

G

D

D

B♭

B♭

A♭

A♭

E

G♭

G♭

A

A

B

每种乐器都有自己的可演奏范围,了解每种乐器可能的最低和最高音符非常重要。为此,请在 idiotsguides.com/musictheory 上在线查看乐器范围表 - 您将会使用它!

Each instrument has its own playable range, and it’s important to know the lowest and highest notes possible for each instrument. To that end, check out the table of instrument ranges online at idiotsguides.com/musictheory—you’ll use it!

选择编曲乐器

Choosing Instruments for an Arrangement

了解每种乐器的声音(和书写方式)只是配器研究的第一步。更重要的是利用这些信息来创作你自己的作品和编曲。

Knowing how each instrument sounds (and is written) is just the first step in the study of orchestration. What’s more important is using that information to create your own compositions and arrangements.

当创作或编曲一首作品时,您需要做的第一件事就是确定您正在创作的乐器。一首为巴松管独奏和钢琴伴奏而写的作品听起来与为完整的交响乐团而写的作品有很大不同。每种乐器的特性和音域都会影响您创作的音乐。相反,您在脑海中听到的声音将有助于确定您选择写作的乐器。

When composing or arranging a piece, one of the first things you need to do is determine for what instruments you’re writing. A piece written for solo bassoon and piano accompaniment will sound quite different from one written for full symphonic orchestra. The characteristics and range of each instrument will influence the music you write. Conversely, the sounds you hear in your head will help determine the instruments you choose to write for.

这就是为什么在你的脑海中固定每种乐器的声音非常重要——无论是一般乐器还是其音域的各个部分。如果您脑子里有一种特定的声音,您应该能够选择哪种乐器最能产生这种声音,或者在某些情况下,哪种乐器的组合可以完成这项工作。

This is why it’s so very important to have fixed in your mind how each instrument sounds—both generally and across various parts of its range. If you have a particular sound in your head, you should be able to choose which instrument(s) can best produce that sound—or, in some instances, which combinations of instruments can do the job.

例如,您可能知道长笛听起来像什么,您可能知道短号听起来像什么,但您知道它们一起演奏时听起来像什么吗?这实际上是一种非常有趣的声音,尤其是当它们齐奏时。(当他们和谐地一起演奏时,听起来有点不同,但仍然很有趣。)或者将长号的高音区与大提琴配对怎么样?或者男中音萨克斯管和巴松管?或者带有圆号的小提琴?或者短笛和木琴?

For example, you might know what a flute sounds like, and you might know what a flugelhorn sounds like, but do you know what they sound like when played together? It’s actually a quite interesting sound, especially when they’re played in unison. (They sound a little different when they’re playing together in harmony, but still interesting.) Or how about paring a trombone in its high range with a cello? Or a baritone sax with a bassoon? Or a violin with a French horn? Or a piccolo with a xylophone?

你明白了。如果您知道如何选择,那么整个世界的音乐色彩都可供您选择。

You get the point. There’s an entire world of musical colors out there for you to choose from, if you know how to choose.

选择乐器后,您需要知道如何在作品中最好地使用这些乐器。例如,萨克斯管部分的发音有多种方法,可以产生完全不同的声音。用优美的开放三度吹奏萨克斯管,在民谣和缓慢的段落中听起来很抒情。用更紧密的块来发声,你会得到一种适合快速段落的轻快的声音。

And after you’ve chosen your instruments, you need to know how to best use those instruments within your composition. There are various ways to voice a saxophone section, for example, which produce entirely different sounds. Voice the saxes in nice open thirds, and you have a lyrical quality that sounds good in ballads and slow passages. Voice them in tighter blocks, and you get a buoyant sound that’s good for fast passages.

我无法教你所有可能的乐器组合,或者如何最好地使用每种组合——至少在本书中是这样。为此,您必须开始对编排进行个人研究。这绝对值得付出努力。

I can’t teach you all the possible combinations of instruments, or how to best use each combination—at least not in this book. For that, you have to embark on your own personal study of orchestration. It’s definitely worth the effort.

常见的合奏

Common Ensembles

尽管您可以创作和编排您喜欢的乐器和声音的任意组合,但在您的音乐生涯中,您可能会遇到某些已建立的合奏团。当被要求为管弦乐队或弦乐四重奏创作一首作品时,准确地了解所涉及的乐器以及它们的使用方式会有所帮助。

Although you can compose and arrange for any combination of instruments and voices you like, you’re likely to run into certain established ensembles over the course of your musical career. When asked to compose a piece for orchestra or string quartet, it helps to know precisely what instruments are involved—and how they’re used.

因此,我们将看看六个左右最受欢迎的器乐和声乐合奏团。请继续阅读以了解更多信息。

For that reason, we’ll look at a half-dozen or so of the most popular instrumental and vocal ensembles. Read on to learn more.

唱诗班

Choir

合唱团可以包含任何专业水平的歌手,并且可以接受各种流派的音乐,从古典曲目到最新的流行歌曲。当然,准确地说,并没有单一的合奏类型称为“合唱团”;而是一种合奏类型。实际上,您可以安排许多不同类型的声乐合奏。一些更流行的形式包括:

A choir can contain singers of any level of expertise, and can embrace music from a variety of genres, from the classical repertoire to the latest pop hits. Of course, to be accurate, there isn’t a single ensemble type called “choir”; there are actually many different types of vocal ensembles for which you can arrange. Some of the more popular forms include:

三重奏。声乐三重奏顾名思义就是三个声音。在古典流派中,三重奏音乐通常是为女性声音(女高音、第二女高音和女低音)而写的,尽管流行音乐中的三重奏可以由全女性、全男性或混合声音组成。

Trio. A vocal trio is just what it says—three voices. In the classical genre, trio music is typically written for female voices (soprano, second soprano, and alto), although trios in pop music can consist of all female, all male, or mixed voices.

四重奏。四重奏是四声部的合奏。在古典音乐(以及一些流行音乐和爵士乐)中,细分是标准 SATB——女高音、女低音、男高音和男低音。当然,你可以有全女性或全男性四重奏,就像理发店四重奏一样。但混声四重奏是最受欢迎的。

Quartet. A quartet is a four-voice ensemble. In classical music (and some pop and jazz) the breakdown is standard SATB—soprano, alto, tenor, and bass. Of course, you can have all-female or all-male quartets, like those in barbershop quartets. But the mixed-voice quartet is the most popular.

室内合唱团。室内合唱团是一个小型合唱团,通常由 12 至 24 名歌手组成,通常演奏 16 世纪和 17 世纪的曲目。还有一些现代室内合唱团,演唱从文艺复兴时期音乐到爵士乐的各种音乐。

Chamber choir. A chamber choir is a small choir, normally with 12 to 24 singers, typically performing repertoire from the sixteenth and seventeenth centuries. There are also some modern chamber choirs that sing everything from Renaissance music to jazz.

牧歌合唱团。另一个常见的声乐室内乐团是牧歌合唱团。牧歌是一种合唱音乐形式,主要在十六世纪在欧洲流行。通常是无伴奏合唱。

Madrigal choir. Another common vocal chamber group is the madrigal choir. The madrigal is a form of choral music that was popular in Europe primarily in the sixteenth century. It is usually sung a cappella.

摇摆合唱团。所谓的摇摆或表演合唱团是一个中等规模的混合声音合奏团,表演各种类型的流行音乐,从百老汇表演曲调到最新的流行歌曲。(这是电视节目《欢乐合唱团》中看到的合唱团类型。)摇摆合唱团通常有完整的节奏部分伴奏——钢琴、贝斯、鼓,有时还有吉他。

Swing choir. A so-called swing or show choir is a mid-sized, mixed-voice ensemble that performs various types of popular music, from Broadway show tunes to the latest pop songs. (This is the type of choir seen in the TV show Glee.) Swing choirs typically have a full rhythm section accompaniment—piano, bass, drums, and sometimes guitar.

大型合唱团。这是传统的大型合唱团或合唱团,包括从初中或高中合唱团到教堂合唱团再到社区合唱团等等。这些合唱团可以是任何规模和组成——虽然混合声音是最常见的,但也有许多流行的全男性和全女性合唱团。

Large choirs. This is the traditional large choir or chorus, encompassing everything from junior high or high school choirs to church choirs to community choirs and beyond. These choirs can be of any size and composition—while mixed-voice is most common, there are also many popular all-male and all-female choruses.

简单来说,高中或成人混声乐团通常有四个声部:女高音、女低音、男高音和男低音。(有时,每个声部都会分开,这样就有第一和第二女高音,第一和第二女低音,等等。)女子合唱团有三到四个声部:女高音 I、女高音 II、女低音 I 和女低音 II (选修的)。男子合唱团有三到四个声部:男高音 I、男高音 II(可选)、男中音和男低音。

To make it simple, a high school or adult mixed-voice ensemble typically has four voice parts—soprano, alto, tenor, and bass. (Occasionally, each of these parts are split, so that you have first and second soprano, first and second alto, and so on.) Women’s choirs have three or four voice parts: soprano I, soprano II, alto I, and alto II (optional). And men’s choirs have three or four voice parts: tenor I, tenor II (optional), baritone, and bass.

提示

TIP

在安排声音时,请记住歌手需要呼吸。(因此,就这一点而言,木管乐器和铜管乐器演奏者也可以这样做。)不要以缓慢的节奏将四个完整的音符连在一起,否则歌手可能会在试图完成一个乐句的结尾时昏倒。尝试在乐句末尾安排自然的呼吸位置,并在几个长音符后毫不犹豫地插入短暂的休止符。

When arranging for voices, remember that singers need to breathe. (So, for that matter, do woodwind and brass players.) Don’t tie together four whole notes at a slow tempo, or the singers might pass out trying to make it to the end of a phrase. Try to arrange natural breathing places at the ends of phrases, and don’t hesitate to insert a short rest after a few long notes.

交响乐团

Symphonic Orchestra

现代管弦乐团是一个非常大的乐团。没有必要一直演奏每种乐器,但您仍然有大量乐器可供选择用于您的管弦乐编排。

The modern orchestra is a very large ensemble. It’s not necessary to have every instrument playing at all times, but you still have a large number of instruments to choose from for your orchestral arrangements.

一支完整的交响乐团几乎可以包括所有可用的乐器,包括弦乐、木管乐器、铜管乐器和打击乐器的完整补充。所有人都参与其中,大多数乐器都有多个实例,尤其是在弦乐部分。

A full symphonic orchestra can include virtually every instrument available, including a complete complement of strings, woodwinds, brass, and percussion. It’s all hands on board, with multiple instances of most instruments, especially in the string sections.

传统管弦乐弦乐组由第一小提琴和第二小提琴、单中提琴组、大提琴组和低音提琴组组成。在一个大型管弦乐队中,可能有多达 16 把第一小提琴、14 把第二小提琴、12 把中提琴、10 把大提琴和 8 把低音提琴。较小的管弦乐队在各部分之间使用类似的比例,但开始时使用的单个乐器较少,例如 8-7-6-5-4 混音。

The traditional orchestral string section consists of first and second violins, a single viola section, a cello section, and a section of double basses. In a large orchestra, you may have as many as 16 first violins, 14 second violins, 12 violas, 10 cellos, and 8 basses. Smaller orchestras use a similar ratio between sections, but with fewer individual instruments to start with—such as an 8-7-6-5-4 mix.

木管乐器在现代管弦乐队中发挥着重要但有限的作用。管弦乐器通常包括短笛、第一和第二长笛、第一和第二双簧管、英国号、第一第二B♭单簧管、低音单簧管、第一和第二巴松管以及低音大管。(请注意萨克斯管家族完全缺席。)

Woodwinds have an important but limited role in the modern orchestra. Orchestral instrumentation typically includes piccolo, first and second flute, first and second oboe, English horn, first and second B♭ clarinet, bass clarinet, first and second bassoon, and contrabassoon. (Note the total absence of the saxophone family.)

管弦乐铜管乐部分实际上相当大,至少在部分数量上是这样。典型的管弦乐器包括四个圆号声部、三个小号、三个长号和一个大号。每个声部可能有一个或两个乐器 - 尽管每个声部一个乐器是最常见的。

The orchestral brass section is actually quite large, at least in number of parts. Typical orchestral instrumentation includes four French horn parts, three trumpets, three trombones, and a single tuba. You may have one or two instruments per part—although one instrument per part is most common.

管弦乐打击乐部分包括由少数演奏者演奏的各种乐器;一个演奏者通常会根据作品的需要演奏多种乐器。常见的管弦乐打击乐器包括定音鼓、一系列木槌乐器(管弦乐铃、编钟、木琴、马林巴琴,有时还有电颤琴)、传统打击乐器(军鼓、低音鼓、悬钹和碎钹)以及各种手打击乐器(雪橇铃、指钹、三角钹、手鼓等)。

The orchestral percussion section includes a wide variety of instruments played by a small number of players; a single player typically plays multiple instruments, as the piece requires. Common orchestral percussion includes timpani, a range of mallet instruments (orchestra bells, chimes, xylophone, marimba, sometimes vibraphone), traditional percussion (snare drum, bass drum, suspended and crash cymbals), and a variety of hand percussion (sleigh bells, finger cymbals, triangle, tambourine, and so forth).

顺便说一句,交响乐团的用途不仅仅是交响乐。许多电影和电视配乐都聘请了完整的管弦乐队,一些电子游戏配乐也是如此。有些摇滚乐队有时甚至会召集管弦乐队来填补空缺。由于所有可用的乐器,管弦乐队可能是可用的最通用的乐器合奏类型,值得您研究。

By the way, the symphonic orchestra is used for more than just symphonies. Many film and television soundtracks employ full orchestras, as do some videogame scores; some rock bands even call in an orchestra to fill things out on occasion. Because of all the instruments available, the orchestra is perhaps the most versatile type of instrumental ensemble available, and worthy of your studies.

提示

TIP

在交响乐谱上(第 21 章讨论),乐器按以下从上到下的顺序显示:木管乐器、铜管乐器、打击乐器、特殊乐器(如钢琴或竖琴),最后是弦乐。

On a symphonic score (discussed in Chapter 21), the instruments are displayed in the following top-to-bottom order: woodwinds, brass, percussion, special instruments (like piano or harp), and, finally, strings.

室内乐团

Chamber Orchestra

室内乐团是完整交响乐团的精简版,通常在较小的大厅里演奏室内乐。典型的室内乐团采用小型弦乐组(第一和第二小提琴、中提琴和大提琴)、少量木管乐器和铜管乐器(长笛、双簧管、B♭单簧管、巴松管、圆号和小号),以及偶尔的钢琴和铜管乐器。定音鼓。室内乐团的每个部分的音乐家通常较少。例如,每个部分可能只有一两个小提琴手,而不是整个小提琴部分。

A chamber orchestra is a stripped-down version of the full symphonic orchestra, typically playing chamber music in smaller halls. The typical chamber orchestra employs a small string section (first and second violin, viola, and cello), a handful of woodwinds and brass (flute, oboe, B♭ clarinet, bassoon, French horn, and trumpet), and the occasional piano and timpani. Chamber orchestras typically have fewer musicians on each part. Instead of an entire section of violins, for example, there might only be one or two violinists on each part.

笔记

NOTE

请注意室内乐团中增加了钢琴(在定音鼓和弦乐之间);钢琴在整个管弦乐队中很少使用。

Note the addition of the piano to the chamber orchestra (between the timpani and the strings); the piano is infrequently used in the full orchestra.

弦乐团

String Orchestra

弦乐团只是弦乐部分的五种主要乐器(第一小提琴、第二小提琴、中提琴、大提琴和低音提琴),有时还配有钢琴伴奏。这个乐团中没有铜管乐器、木管乐器或打击乐器。

A string orchestra is simply the five primary instruments of the string section (first violin, second violin, viola, cello, and double bass), sometimes accompanied by a piano. There are no brass, woodwind, or percussion instruments in this ensemble.

弦乐四重奏

String Quartet

古典和现代音乐中另一个常见的乐团是弦乐四重奏。顾名思义,这是由四种弦乐器组成的组合(每个乐器各一个,每个声部不加倍):第一小提琴和第二小提琴、中提琴和大提琴。(弦乐四重奏中没有低音提琴。)

Another common ensemble in both classical and contemporary music is the string quartet. As the name implies, this is a grouping of four string instruments (one each—no doubling per part): first and second violin, viola, and cello. (There’s no bass in a string quartet.)

音乐会乐队

Concert Band

音乐会乐队不太像行进乐队,而更像是没有弦乐的管弦乐队。一支典型的音乐会乐队几乎包含大型管弦乐团的所有铜管乐器、木管乐器和打击乐器,但数量更多,并且还添加了萨克斯管。只是没有弦。

A concert band is less like a marching band and more like an orchestra without the strings. A typical concert band contains virtually all the brass, woodwind, and percussion instruments from the larger orchestra, but more of them—and with saxophones added. Just no strings.

音乐会乐队的曲目本质上是交响乐,就像管弦乐队一样,乐器所扮演的角色与管弦乐作品中的角色大致相同。您通常会发现每个部分有多个部分,每个部分有多个玩家。与传统管弦乐队相比,乐队编排中也可能更多地使用打击乐部分。

The concert band repertoire is symphonic in nature, like an orchestra, and the instruments play much the same roles as they do in orchestral works. You typically find multiple parts per section, and multiple players per part. There might be a little more use of the percussion section in a band arrangement, too, compared to the traditional orchestra.

提示

TIP

由于音乐会和军乐队没有弦乐,因此您可以为木管乐器和铜管乐器定制编曲。这意味着选择“乐队友好”的琴键,即所有圆号演奏者都可以轻松演奏的琴键,例如音乐会 F、B♭、E♭ 和 A♭。您应该避免使用锋利的琴键以及具有四个以上降音的琴键。

Since concert and marching bands don’t have strings, you can tailor your arrangements for woodwind and brass instruments. That means selecting keys that are “band-friendly”—that is, keys that are easy to play for all the horn players, such as concert F, B♭, E♭, and A♭. You should avoid sharp keys, as well as keys with more than four flats.

军乐队

Marching Band

然后是行进乐队,其乐器与音乐会乐队类似,但缺少以下乐器:双簧管、英国号、巴松管、中音单簧管、短号和低音长号。打击乐部分也有所不同,有更多的军鼓、低音鼓和碎钹,更少的手打击乐,并且(在许多情况下)有一个单独的“坑”,其中包含非移动乐器,例如定音鼓、木琴等。

Then there’s the marching band, which has similar instrumentation to a concert band, minus the following instruments: oboe, English horn, bassoon, alto clarinet, cornet, and bass trombone. The percussion section is also different, with a lot more snare drums and bass drums and crash cymbals, less hand percussion, and (in many cases) a separate “pit” with nonmobile instruments, such as timpani, xylophones, and the like.

也就是说,现在确实不存在所谓的“标准”军乐队。小学校的乐队成员可能少于 20 人;为高中篮球比赛组织的“鼓动”乐队可能有 30 到 40 名成员;来自大型高中或大学的怪物乐队可能有 200 名或更多成员。然后是鼓乐队的特殊类别,这是一支仅由鼓和铜管乐器组成的流线型乐队,没有木管乐器。

That said, there’s really no such thing as a “standard” marching band these days. A band from a small school might have fewer than 20 members; a “pep” band organized for high school basketball games might have 30 to 40 members; a monster band from a large high school or college might have 200 members or more. Then there’s the special category of drum corps, a streamlined band that consists solely of drums and brass instruments—no woodwinds.

球员的年龄和技能也存在很大差异。为中学军乐队写作与为高中或大学乐队写作有很大不同。才华水平(和兴趣)将取决于乐队对比赛的关注程度,而不是仅仅参加足球比赛和一些当地游行。

There’s also considerable variation in the ages and skills of the players. Writing for a middle-school marching band is going to be a lot different than writing for a high-school or college band. And the talent level (and interest) will vary depending on how focused the band is on competition, versus just playing at football games and a few local parades.

因此,您可能需要保持简单的安排。当您意识到许多行进乐队要求他们的音乐家记住他们的音乐,然后进行他们的日常表演时,这也是一个好主意。玩得太难,孩子们就记不住了!

So you may need to keep your arrangements simple. That’s also a good idea when you realize that many marching bands require their musicians to memorize their music—and then march their routine. Make it too hard to play and the kids won’t be able to remember it!

大乐队(爵士乐队)

Big Band (Jazz Band)

另一种流行的乐团,特别是在爵士乐术语中,是所谓的爵士乐队大乐队。典型的爵士乐队包括以下成员:

Another popular ensemble, especially in the jazz idiom, is the so-called jazz band or big band. A typical jazz band includes the following:

  • 萨克斯区,由三到五名中音、次中音和男中音萨克斯演奏者组成
  • Sax section with three to five players on alto, tenor, and baritone saxes
  • 小号部分有三到五件
  • Trumpet section with three to five pieces
  • 长号部分有三到五件乐器
  • Trombone section with three to five instruments
  • 节奏部分由钢琴、贝斯、鼓组成,有时还包括吉他
  • Rhythm section consisting of piano, bass, drums, and sometimes guitar

就是这样。演奏者数量从 12 到 20 人不等,全部都能演奏小节或独奏。令人惊奇的是,这种乐器组合的用途确实如此广泛。

And that’s it. Anywhere from 12 to 20 players, all capable of playing section parts or solos. It’s amazing how versatile this combination of instruments really is.

笔记

NOTE

萨克斯演奏者有时会双奏长笛。小号演奏者有时会演奏粗号,尤其是在民谣中。

Sax players sometimes double on flute. Trumpet players sometimes play fluegelhorn, especially on ballads.

今天的大乐队可以演奏多种风格。最常见的风格是经典的 1940 年代摇摆乐(Benny Goodman、Glenn Miller、Artie Shaw)、直接爵士乐(Thad Jones/Mel Lewis、Woody Herman)、强力爵士乐(Buddy Rich、Big Phat Band)、布鲁斯(Count Basie) 、拉丁/爵士乐(斯坦·肯顿、迪兹·吉莱斯皮)、爵士乐/摇滚(梅纳德·弗格森)和民谣(任何和全部)。一个给定的乐队可能专注于一种特定的风格,或者可能有一本书涵盖多种风格。

Today’s big bands can play in a variety of styles. The most common styles are classic 1940’s swing (Benny Goodman, Glenn Miller, Artie Shaw), straight ahead jazz (Thad Jones/Mel Lewis, Woody Herman), hard driving jazz (Buddy Rich, Big Phat Band), blues (Count Basie), Latin/jazz (Stan Kenton, Dizzy Gillespie), jazz/rock (Maynard Ferguson), and ballads (any and all). A given band may specialize in a particular style, or may have a book that encompasses multiple styles.

无论风格如何,大乐队音乐通常都遵循既定但灵活的形式。你从某种引子开始,进入一系列的诗句和合唱(其中一些用作即兴创作的部分),也许会演奏一段简短的间奏,将其调高到呼喊合唱,然后进入到结尾。请记住为乐器独奏留出空间——大乐队确实演奏爵士乐,而爵士乐就是即兴创作。

Whatever the style, big-band music often adheres to an established-yet-flexible form. You start with some sort of an introduction, move into a series of verses and choruses (some of which are used as sections for improvisation), perhaps play through a short interlude, ramp it up for the shout chorus, and then drive through to the ending. Just remember to leave room for those instrumental solos—big bands do play jazz, and jazz is all about the improvisation.

摇滚乐队(节奏部分)

Rock Band (Rhythm Section)

典型的摇滚乐队由一个或多个电吉他、贝斯和鼓组成。但是,您可以添加许多其他乐器;键盘很常见,原声吉他也是如此。这也是您在大多数教堂赞美乐队、许多民间乐队(当然使用原声乐器而不是电子乐器)以及大型乐团(例如大乐队)中的节奏部分中看到的基本乐器。

A typical rock band consists of one or more electric guitars, bass, and drums. You can add lots of other instruments, however; keyboards are common, as are acoustic guitars. This is also the basic instrumentation you’ll see in most church praise bands, in many folk bands (but with acoustic instruments instead of electric ones, of course), and as the rhythm section in larger ensembles, such as big bands.

正如您所看到的,它是一种非常通用的仪器组合,并且当您使用其他仪器增强基本配置时,它会变得更加通用。如果您想要更深情的打击,请添加一个带有小号的喇叭部分和几个萨克斯管;如果您想要更管弦乐的声音,请添加大提琴或弦乐四重奏;或者如果您想要乡村乐队,可以添加踏板钢吉他和小提琴。

As you can see, it’s a very versatile combination of instruments—and gets even more versatile when you augment the basic configuration with other instruments. Add a horn section with trumpet and a couple of saxes if you want a more soulful punch; add a cello or string quartet if you want a more orchestral sound; or add a pedal-steel guitar and fiddle if you want a country band.

摇滚乐队的节奏部分为歌手提供支持;在较大的合奏中,节奏部分的功能是为其他乐器伴奏。它不仅提供了潜在的节拍(通常通过重复的节奏模式),还提供了作品的基本和声背景。

The rock band’s rhythm section is there to back the singer; in larger ensembles, the rhythm section’s function is to back the other instruments. It provides not only the underlying beat (typically via repeated rhythmic patterns), but also the basic harmonic background to a piece.

关于安排摇滚乐队或节奏部分,有一件重要的事情需要了解——在大多数形式的爵士乐和流行音乐中,你实际上并没有写出所有的音符。是的,大多数节奏部分只是草图;你基本上依赖于各个玩家即兴发挥自己的部分。

And here’s an important thing to know about arranging for a rock band or rhythm section—in most forms of jazz and popular music, you don’t actually write out all the notes. That’s right, most rhythm section parts are just sketches; you rely on the individual players to essentially ad lib their own parts.

在某些情况下,这意味着编写一张供所有音乐家阅读的主乐谱。在其他情况下,您可能需要为每种乐器写出单独的部分,标注您想要演奏的特定段落,但在其他地方使用斜线符号,并让音乐家根据需要进行解释。你很少会写出每种乐器的每个小节的每个音符。

In some cases, this means writing a single lead sheet that all the musicians read from. In other cases, you may need to write out individual parts for each of the instruments, notating specific passages you want played but elsewhere using slash notation and letting the musicians interpret as necessary. Seldom do you write out every note of every measure for every instrument.

除了一般和具体指令的结合之外,各个玩家还可以自由即兴创作自己的部分。这实际上是一件好事,因为它使您无需尝试为您可能不知道如何演奏的乐器想出听起来自然的声部。毕竟,创建一段长的鼓填充的细节可能最好留给鼓手,因为他可以在睡梦中做这种事情。

Beyond this combination of both general and specific instructions, the individual players are free to improvise their own parts. This is actually a good thing, as it frees you from trying to come up with natural-sounding parts for instruments that you probably don’t know how to play. After all, the specifics of creating a measure-long drum fill are probably best left to a drummer, who can do that sort of thing in his sleep.

练习

Exercises

练习20-1

Exercise 20-1

将以下旋律移调为小号。(记得设置转调调号!)

Transpose the following melody for trumpet. (Remember to set the transposed key signature!)

练习20-2

Exercise 20-2

将以下旋律移调为中音萨克斯。(记得设置转调调号!)

Transpose the following melody for alto sax. (Remember to set the transposed key signature!)

练习20-3

Exercise 20-3

将以下旋律移调为圆号。(记得设置转调调号!)

Transpose the following melody for French horn. (Remember to set the transposed key signature!)

练习20-4

Exercise 20-4

将以下小号旋律变调回音乐会音高。(记得设置移调调号——并注意那些临时记号!)

Transpose the following trumpet melody back into concert pitch. (Remember to set the transposed key signature—and watch those accidentals!)

您至少需要知道的

The Least You Need to Know

  • 按降序排列,合唱团的四个主要声部是女高音、女低音、男高音和男低音 (SATB)。
  • In descending order, the four main voices in the choir are soprano, alto, tenor, and bass (SATB).
  • 主要乐器有弦乐(弓弦乐器和弹拨乐器)、木管乐器、铜管乐器、键盘乐器和打击乐器。
  • The main families of instruments are strings (both bowed and plucked), woodwind, brass, keyboards, and percussion.
  • 移调乐器的声音听起来不符合音乐会的音调;它们在书面音符上方或下方发出指定的音程。他们的声部必须被移调,以便他们演奏的音符是音乐会音高中正确的音符。
  • Transposing instruments don’t sound in concert pitch; they sound a specified interval above or below the written note. Their parts must be transposed so that the note they play is the proper note in concert pitch.
  • B♭ 乐器(小号、单簧管、女高音和次中音萨克斯)听起来比音乐会音高低一个大二度;E♭ 乐器(中音萨克斯管和男中音萨克斯管)听起来比音乐会音高低一个大六度;F 乐器(英国号和法国号)听起来比音乐会音高低一个完美的五度。
  • B♭ instruments (trumpet, clarinet, and soprano and tenor saxes) sound a major second lower than concert pitch; E♭ instruments (alto and baritone saxes) sound a major sixth lower than concert pitch; and F instruments (English horn and French horn) sound a perfect fifth lower than concert pitch.
  • 常见的声乐团体包括三重奏、四重奏、室内合唱团、牧歌合唱团和大型合唱团。
  • Common vocal ensembles include the trio, quartet, chamber choir, madrigal choir, and large choir.
  • 常见的器乐合奏团包括交响乐团、室内乐团、弦乐团、弦乐四重奏、音乐会乐队、行进乐队、爵士大乐队、摇滚乐队或节奏乐队。
  • Common instrumental ensembles include symphonic orchestra, chamber orchestra, string orchestra, string quartet, concert band, marching band, jazz big band, and rock band or rhythm section.

第21

CHAPTER

21

铅表和乐谱

Lead Sheets and Scores

在这一章当中

In This Chapter

  • 创作清晰易读的书面音乐
  • Creating clear and readable written music
  • 了解主奏表、和弦表和总谱之间的差异
  • Understanding the differences between lead sheets, chord sheets, and scores
  • 学习如何为合唱团、大乐队或管弦乐队创作完整的乐谱
  • Learning how to create a full score for choir, big band, or orchestra
  • 探索适合您计算机的易于使用的乐谱软件
  • Exploring easy-to-use music notation software for your computer

一旦你写了一首音乐,你需要以其他音乐家可以轻松阅读的方式呈现它。有许多不同的方法来标记书面音乐;您使用哪些音乐部分取决于您创作的音乐类型以及演奏者。

Once you’ve written a piece of music, you need to present it in a way that other musicians can easily read. There are many different approaches to notating written music; which ones you use depends in part on the type of music you’ve written and who will be playing it.

如果您为摇滚或乡村乐队写过一首歌曲,那么您写的音乐可能相当简单——和弦和旋律通常就足够了。另一方面,如果您写了一首合唱曲或一首完整的交响曲(对您有好处!),您将需要创建一个详细的乐谱,其中包含合唱团或乐器中每个声部的各个部分。管弦乐队。

If you’ve written a song for a rock or country band, the music you write can be fairly simple—chords and melody will generally suffice. If, on the other hand, you’ve written a piece for chorus or a full-blown symphony (good for you!), you’ll need to create a detailed score containing the individual parts for each voice in the choir or instrument in the orchestra.

无论您创作什么类型的书面音乐,您都需要保持其整洁并易于理解。音乐家必须能够在第一遍阅读音乐(称为视奏),这意味着它有助于遵循某些既定参数。如果没有人能读懂你的音乐,那么独一无二就没有意义了!

Whatever type of written music you create, you need to keep it neat and make it easily understandable. Musicians have to be able to read the music at first pass (called sight reading), which means it helps to follow certain established parameters. There’s no point in being unique if nobody can read your music!

按照规则

Follow the Rules

无论您准备什么类型的音乐,您都需要遵循某些记谱规则(实际上是指南),因为它们并不是一成不变的。这些指南包括以下内容:

Whatever type of music you prepare, you need to follow certain notation rules—guidelines, actually, since they’re not set in stone. These guidelines include the following:

  • 每个乐器或声部的每个五线谱的第一个实例必须有自己的谱号、调号和拍号。
  • The first instance of each staff for each instrument or voice must have its own clef sign, key signature, and time signature.
  • 通常,拍号仅在第一个小节中以及出现时间变化的任何地方显示。
  • Typically, the time signature is shown only in the very first measure—and wherever a time change appears.
  • 每件乐器的每根谱线开头都应有清晰的标记。(第一个实例通常会拼写出完整的乐器名称;后续五线谱可以使用缩写。)
  • Each instrument should be clearly marked at the beginning of each staff. (The first instance typically has the full instrument name spelled out; subsequent staves can use abbreviations.)
  • 在乐队和管弦乐乐谱中,将类似的乐器组合在一起(例如,将所有小号组合在一起)。
  • In band and orchestral scores, group like instruments together (all the trumpets together, for example).
  • 对于使用大谱表(低音谱号和高音谱号)的乐器,请使用大括号将两个谱表分组。
  • For instruments that use the grand staff (both bass and treble clef), group the two staves by using braces.
  • 测量线应该穿过属于同一部分的所有乐器,但不能穿过乐谱中的所有乐器。
  • Measure lines should be drawn through all the instruments belonging to the same section—but not through all the instruments in the score.
  • 如果需要,您可以将所有类似的乐器组合到一根谱表上(例如,将所有小号声部组合到一根谱表上)。
  • If you want, you can combine all like instruments on a single staff (all the trumpet parts on one staff, for example).
  • 如果乐器或声部将休息很长一段时间,则您不必在休息期间包括该乐器或声部的谱表。
  • If an instrument or voice will be resting for an extended period of time, you don’t have to include the staff for that instrument or voice during the rest period.
  • 使用字母标记来标记音乐的各个部分。(为了便于阅读,字母标记通常包含在方框或圆圈中。)
  • Use letter markings to notate individual sections of the music. (For ease of reading, letter markings are typically enclosed in a box or circle.)
  • 给你的小节编号——或者至少每行的第一个小节。(或者,您可以每 5 或 10 小节插入一个数字标记。)
  • Number your measures—or at least the first measure of every line. (Alternately, you can insert a number mark every 5 or 10 measures.)

定义

DEFINITION

音乐的杰作——包含所有各个部分的音乐——被称为乐谱

The master piece of music—the one that contains all the individual parts—is called the score.

不用说,您创作的音乐也应该是可读的。如果您全部用手写出来,请确保您写出清晰明确的注释,以便在五线谱上轻松区分。如果您的书法水平很差(像我一样!),请考虑参加书法课程来提高您的笔迹,或使用计算机化的乐谱程序在计算机打印机上创作精美的音乐。(请参阅本章后面的“使用计算机”部分。)

It goes without saying that the music you create should also be readable. If you’re writing it all out by hand, make sure you produce clear and distinct notes that are easily distinguishable on the staff. If you have poor penmanship (like I do!), consider taking a calligraphy course to improve your handwriting, or use a computerized music notation program to create great-looking music on your computer printer. (See the “Use the Computer” section later in this chapter.)

这些规则适用于您创作和指挥使用的乐谱。至于音乐家自己朗读的音乐,你必须为每种乐器创建单独的部分。(这不是声乐乐谱的要求。)因此,如果您为大乐队写了一首曲子,则必须创建一个单独的第一小号声部、一个单独的第二小号声部和一个单独的第三小号声部,等等在。当您写出各个部分时,仅包括该乐器的部分 - 指挥是唯一可以在总谱上看到所有部分的人。

These rules apply to the score you compose and that the conductor uses. As for the music that the musicians themselves read, you have to create individual parts for each instrument. (This is not a requirement for vocal scores.) So if you’ve written a piece for a big band, you have to create a separate first trumpet part, and a separate second trumpet part, and a separate third trumpet part, and so on. When you write out the individual parts, include only that instrument’s part—the conductor is the only person who gets to see all the parts together on the master score.

率先

Take the Lead

最常见的书面音乐形式是主乐谱。铅板不包括任何单独的乐器部件;你得到的只是歌曲的旋律、和弦和歌词。

The most common form of written music is the lead sheet. A lead sheet doesn’t include any individual instrumental parts; all you get is the song’s melody, chords, and lyrics.

正如您在下面的示例中所看到的,典型的主奏表由一根旋律线组成,歌词位于五线谱下方,而和弦位于五线谱上方。

As you can see in the following example, a typical lead sheet consists of one staff for the melody line, with lyrics under the staff and chords above it.

铅片。

Lead sheet.

主旋律表创建起来很简单,并且非常适合为流行歌曲添加注释。如果您在摇滚或乡村乐队(甚至爵士三重奏或四重奏)中演奏,您可以使用主板来呈现您演奏的大部分音乐。

Lead sheets are simple to create, and they’re ideal for notating popular songs. If you play in a rock or country band (or even a jazz trio or quartet), you can use lead sheets to present much of the music you play.

警告

WARNING

主乐谱不是商业乐谱。乐谱通常包括完整的钢琴部分,而主乐谱仅包含旋律和和弦。此外,与乐谱不同,铅页不可在商业上购买。

A lead sheet is not commercial sheet music. Sheet music typically includes full piano parts, whereas lead sheets contain melody and chords only. In addition, lead sheets are not available commercially, unlike sheet music.

让它变得简单

Make It Simple

比主乐谱更简单的是一首只包含和弦的音乐,没有旋律线,也没有歌词。这种类型的音乐有两种不同的方法,我们将同时研究这两种方法。

Even simpler than the lead sheet is a piece of music that contains only chords—no melody lines and no lyrics. There are two different approaches to this type of music, and we’ll look at both.

和弦表

Chord Sheets

和弦顾名思义:一张仅包含歌曲和弦的乐谱。和弦是按小节来呈现的,这样节奏部分的成员(钢琴、贝斯和吉他)就可以轻松地演奏这首歌。

The chord sheet is just what it sounds like: a sheet of music containing only the chords of a song. The chords are presented measure by measure, so that members of the rhythm section (piano, bass, and guitar) can play through the song with minimal effort.

提示

TIP

如果您使用乐谱程序准备和弦表,除了标准和弦符号之外,您还可以选择包含吉他指法谱。如果您正在为初级吉他手写作,这尤其有用。

If you prepare a chord sheet using a music notation program, you may choose to include guitar tablature in addition to the standard chord symbols. This is particularly useful if you’re writing for beginning-level guitarists.

和弦表。

Chord sheet.

纳什维尔数字系统

The Nashville Number System

在乡村音乐领域,特别是在录音室音乐家中,使用不同类型的和弦表。这种书写和弦的方法称为纳什维尔数字系统,它使用数字而不是字母。

In the field of country music, especially among studio musicians, a different type of chord sheet is used. This method of writing chords is called the Nashville Number System, and it uses numbers instead of letters.

在纳什维尔数字系统中,一切都围绕给定键的主音和弦。该主和弦的编号为 1。基于调 ii 的和弦(小和弦)的编号为 2m。(m 告诉音乐家这是一个小和弦。)基于调 iii 的和弦(也是小和弦)被指定为数字 3m。依此类推,直至音阶 7 号和弦。

In the Nashville Number System, everything revolves around the tonic chord of a given key. That tonic chord is assigned the number 1. The chord based on the ii of the key—a minor chord—is assigned the number 2m. (The m tells the musician it’s a minor chord.) The chord based on the iii of the key—also a minor chord—is assigned the number 3m. And so on up the scale, up to chord number 7.

正如您所看到的,大和弦仅通过数字来区分。小和弦加了 m。扩展名作为上标添加到数字右侧,以便基于音阶五度的属七和弦被标记为 5 7

As you can see, major chords are distinguished by number only; minor chords have an m added. Extensions are added as superscripts to the right of the number, so that a dominant seventh chord based on the fifth of the scale is noted as 57.

使用纳什维尔数字系统的和弦图类似于以下示例。

A chord chart using the Nashville Number System looks something like the following example.

使用纳什维尔数字系统的和弦图。

Chord chart using the Nashville Number System.

由于纳什维尔数字系统不使用传统音符,因此它非常适合不知道如何阅读乐谱的音乐家。它还使得改变调性变得非常容易——只需弹奏 1 或 2 或 3,或任何你想要的调的和弦;就这么简单。

Because the Nashville Number System doesn’t use traditional notes, it is ideal for musicians who don’t know how to read music. It also makes it very easy to change key—just play the 1 or 2 or 3, or whatever chord in whatever key you want; it’s as easy as that.

笔记

NOTE

纳什维尔数字系统非常类似于罗马数字表示法系统,只不过它使用常规数字 (1, 2, 3) 而不是罗马数字 (I, II, III)。

The Nashville Number System is very much like the Roman numeral notation system, except it uses regular numbers (1, 2, 3) instead of Roman numerals (I, II, III).

大声唱

Sing It Loud

安排合唱团比为摇滚乐队绘制和弦要复杂一些。合唱音乐通常有四到五个声部,每个声部在乐谱中都有自己的台词。

Arranging for choirs is a bit more complicated than sketching out chords for a rock band. Choral music normally has four or five parts, and each part has to have its own line in the score.

让我们看一下典型的四声部合唱乐谱。这些声部的排列方式是最高声部(女高音)位于顶部,最低声部(低音)位于底部。四个声部(女高音、女中音、男高音和男低音)用括号组合在一起,并且钢琴伴奏包含在声乐部分下方。前三部分使用高音谱号;低音线使用低音谱号。每首乐谱下方都包含歌词。

Let’s look at a typical four-part choral score. The parts are arranged with the highest voice (soprano) at the top, and the lowest voice (bass) at the bottom. The four vocal parts (soprano, alto, tenor, and bass) are grouped together with braces, and a piano accompaniment is included below the vocal parts. The top three parts use the treble clef; the bass line uses the bass clef. Lyrics are included below each staff.

SATB 合唱乐谱。

SATB choral score.

笔记

NOTE

合唱的图表有时称为SATB 乐谱,适用于女高音、中音、男高音和低音声部。

Charts for choruses are sometimes called SATB scores, for the soprano, alto, tenor, and bass parts.

当您创建合唱乐谱(或任何具有多个声部的乐谱)时,请确保一个声部中的小节与所有其他声部中的相同小节垂直对齐。事实上,每个小节中的音符也应该在各个部分之间对齐。如果有帮助,请在编写乐谱时使用尺子来帮助保持音符对齐。

When you create a choral score—or any score with multiple parts, for that matter—make sure a measure within one part aligns vertically with the same measure in all the other parts. In fact, the notes within each measure also should align between parts. If it helps, use a ruler to help keep the notes in alignment when you’re writing the score.

提示

TIP

如果有额外的伴奏乐器,它们也可以包含在乐谱中——位于人声下方,就像钢琴部分一样。

If there are additional backing instruments, they can also be included in the score—below the vocals, just like the piano part.

为大乐队演奏爵士乐

Jazz It Up for Big Bands

另一种流行的乐团——尤其是在高中和大学音乐家中——是大乐队爵士乐队。典型的爵士乐队包含许多乐器,这导致了相当大的音乐作品。例如,合唱乐谱可能会在一页上显示两组五线谱,而爵士乐队乐谱通常会占用一整页来显示所有不同的乐器。

Another popular ensemble—particularly among high school and college musicians—is the big band, or jazz band. A typical jazz band includes a lot of instruments, which results in a fairly large piece of music. For example, whereas a choral score might get two groups of staves on a page, a jazz band score typically takes a whole page just to display all the different instruments.

当您创建大乐队乐谱时,您可以选择如何处理移调乐器。您可以创建一个音乐会调谱,所有乐器都以音乐会调写成;如果您采用这种方法,则必须确保在创建各个部分时对其进行调换。或者,您可以创建一个移调乐谱,其中每个乐器都以其移调调书写;这种类型的乐谱对于指挥来说可能更难阅读,但它更准确地代表了音乐家在其各个部分上看到的内容。

When you create a big-band score, you have a choice of how you deal with transposing instruments. You can create a concert key score, with all instruments written in concert key; if you take this approach, you have to make sure you transpose the individual parts when you create them. Alternately, you can create a transposed score in which each instrument is written in its transposed key; this type of score might be harder for the conductor to read, but it more accurately represents what the musicians see on their individual parts.

为节奏部分创建部件特别有趣。在大多数情况下,您可以使用斜线符号并指示和弦变化,但您不必创建完全实现的部分。最大的例外是当您有重要的节奏并希望节奏部分加强时;您可以使用斜线音符记下这些节奏,如示例的第五小节所示。

Creating parts for the rhythm section is particularly interesting. In most cases you can use slash notation and indicate the chord changes, but you don’t have to create fully realized parts. The big exception to this is when you have important rhythms that you want the rhythm section to reinforce; you can note these rhythms using slash notes, as shown in the fifth measure of the example.

大乐队的得分。

Score for big band.

笔记

NOTE

在所有乐队和管弦乐乐谱中,类似的乐器通常在系统中分组在一起。在一个系统中,各个五线谱连接在一起,以便更容易将乐器视为一个整体。

In all band and orchestral scores, like instruments are typically grouped together in systems. In a system, the individual staves are joined together, to make it easier to view the instruments as a group.

组建(音乐会)乐队

Strike Up the (Concert) Band

一个更大的乐队是音乐会乐队。与爵士乐队不同,音乐会乐队几乎包括所有铜管乐器和木管乐器,以及完整的打击乐部分 - 小鼓、低音鼓、定音鼓、马林巴琴等。音乐会乐队几乎就像一个管弦乐队,但没有弦乐。

An even bigger band to write for is the concert band. Unlike a jazz band, a concert band includes virtually all the brass and woodwind instruments, along with a full percussion section—snare drums, bass drums, timpani, marimba, and so forth. A concert band is almost like an orchestra, but without strings.

音乐会乐队是从传统的行进乐队发展而来的。音乐家们坐下来,乐器从稍微斯巴达的行进乐团中得到增强。

Concert bands evolved from traditional marching bands. The musicians get to sit down, and the instrumentation was augmented from the slightly more Spartan marching ensembles.

当您编写音乐会乐队乐谱时,您将按从上到下的顺序包含以下乐器组:

When you’re writing a concert band score, you include the following groups of instruments, in top-to-bottom order:

  • 木管乐器:短笛、长笛、双簧管、英国号、单簧管、中音单簧管、低音单簧管、巴松管、中音萨克斯管、次中音萨克斯管、男中音萨克斯管
  • Woodwinds: Piccolo, flute, oboe, English horn, clarinet, alto clarinet, bass clarinet, bassoon, alto saxophone, tenor saxophone, baritone saxophone
  • 铜管:短号、小号、圆号、长号、低音长号、男中音号、大号
  • Brass: Cornet, trumpet, French horn, trombone, bass trombone, baritone horn, tuba
  • 打击乐器:定音鼓、打击乐器(军鼓、低音鼓等有单独的五线谱)
  • Percussion: Timpani, percussion (with separate staves for snare drum, bass drum, and so on)

这里的示例显示了典型的音乐会乐队乐谱。与爵士乐队乐谱一样,音乐会乐队乐谱可以采用音乐会调或移调。

The example here shows a typical concert band score. As with jazz band scores, concert band scores can be in either concert key or transposed.

音乐会乐队的乐谱。

Score for concert band.

为交响乐团谱写大乐章

Make the Big Score—for the Symphonic Orchestra

现在我们进入了大联盟。为整个管弦乐队创作乐谱是一项艰巨的任务,原因只是需要处理许多乐器。因此,大多数管弦乐队的乐谱都写在大纸上——11 × 17 英寸左右。由于野兽的巨大尺寸,您可能在每页上只能看到四到八个小节,这意味着典型的管弦乐乐谱也相当长。

Now we’re in the big leagues. Creating a score for full orchestra is a major undertaking, if for no other reason than there are many instruments to deal with. Because of this, most orchestra scores are written on large sheets of paper—11 × 17 inches or so. Because of the sheer size of the beast, you’ll probably get only four to eight measures on each page, which means the typical orchestral score also is fairly long.

提示

TIP

您还可以创建压缩乐谱,其中各个部分折叠成单个五线谱。这种类型的乐谱更容易阅读,尽管它不包含初始排练所需的部分细节。您可以选择在演奏较少乐器的长音乐部分中减少乐谱中的五线谱数量。

You also can create a condensed score, in which individual parts are collapsed into single staves. This type of score is easier to read, even though it doesn’t contain the part detail necessary for initial rehearsals. You have the option of cutting down the number of staves in the score during long sections of music where fewer instruments are playing.

正如您从示例中看到的,乐器系列按以下顺序分组在乐谱中:

As you can see from the example, instrument families are grouped together in the score in the following order:

  • 木管乐器:短笛、长笛(第一和第二)、双簧管(第一和第二)、英国号、E♭单簧管、B♭单簧管(第一和第二)、低音单簧管、巴松管(第一和第二)、低音大管、法国号(第一) 、第二、第三、第四)
  • Woodwinds: Piccolo, flute (first and second), oboe (first and second), English horn, E♭ clarinet, B♭ clarinet (first and second), bass clarinet, bassoon (first and second), contrabassoon, French horn (first, second, third, and fourth)
  • 铜管乐器:小号(第一、第二和第三)、长号(第一、第二和第三)、大号
  • Brass: Trumpet (first, second, and third), trombone (first, second, and third), tuba
  • 打击乐器:定音鼓、打击乐器(包括小鼓、大鼓、马林巴等)
  • Percussion: Timpani, percussion (including snare drum, bass drum, marimba, etc.)
  • 竖琴
  • Harp
  • 钢琴
  • Piano
  • 弦乐:小提琴(第一和第二)、中提琴、大提琴、低音提琴
  • Strings: Violin (first and second), viola, cello, double bass

与大乐队乐谱一样,您可以使用音乐会调或移调调来创建管弦乐乐谱,以最适合您的方式为准。

As with big-band scores, you can create orchestral scores in either concert key or transposed keys—whichever works better for you.

由于大多数管弦乐作品都相当长,因此在乐谱中包含正确的路线图非常重要。对每个小节进行编号,并用新字母指定每个部分。这样,音乐家(和指挥!)可以在排练过程的开始和停止期间轻松找到自己的位置,或者如果他们在现场表演的长时间休息期间碰巧睡着了!

Because most orchestral pieces are fairly long, it’s important to include proper road mapping in your scores. Number each measure, and designate each section with a new letter. This way musicians (and the conductor!) can easily find their places during the starting and stopping of the rehearsal process—or if they happen to fall asleep during a long rest in a live performance!

为整个管弦乐队配乐。

Score for full orchestra.

使用电脑

Use the Computer

在过去,为大型合奏团创作配乐真是一件痛苦的事。每个部分都必须单独手工编写,并根据需要进行转换。这是大量的写​​作,并不总是能产生最具可读性的音乐作品——尤其是如果你的笔迹和我的一样糟糕的话!

In the old days, it was a real pain in the rear to create scores for large ensembles. Every part had to be written separately, by hand, and transposed as necessary. That was a lot of writing, and didn’t always result in the most readable pieces of music—especially if your handwriting is as bad as mine!

如今,得益于计算机技术,许多这种符号过程都可以自动化。音乐记谱软件适用于 Windows 和 Macintosh 操作系统,使您能够通过计算机键盘创作一首完整的音乐,包括完整的管弦乐乐谱。其结果是一首看起来很专业的音乐作品,并配有适当的音符间距和乐谱标记。

Today, thanks to computer technology, a lot of this notation process can be automated. Music notation software, available for both Windows and Macintosh operating systems, enables you to create a complete piece of music—including full orchestral scores—from your computer keyboard. The result is a professional-looking piece of music, complete with proper note spacing and notation marks.

所有乐谱程序都允许您使用鼠标或计算机键盘在页面上输入音符。您所要做的就是单击五线谱上的一个位置,然后就会出现一条注释。

All music notation programs let you enter notes on the page with either your mouse or computer keyboard. All you have to do is click a position on the staff, and a note appears.

其中许多程序还允许您连接 MIDI 键盘并将音乐直接从键盘输入到计算机。记谱程序将您在键盘上弹奏的音符转换为五线谱上相应的音符。然后,您可以根据需要微调屏幕上的音乐。

Many of these programs also let you connect a MIDI keyboard and input music directly from the keyboard to your computer. The notation program translates the notes you play on the keyboard into corresponding notes on a staff. You can then fine-tune the music onscreen as necessary.

笔记

NOTE

MIDI代表“乐器数字接口”,是一种用于将音频信息以数字方式从一个电子设备传递到另一个电子设备的计算机协议。

MIDI stands for “musical instrument digital interface,” and is a computer protocol for passing audio information digitally from one electronic device to another.

当今两个最受欢迎的乐谱程序是 Finale ( Finalemusic.com ) 和 Sibelius ( sibelius.com )。这两个程序的工作方式相似;Finale 的售价为 600 美元,而 Sibelius 则以每月 9.99 美元的订阅价格出售。幸运的是,对于注重成本或彻底饥饿的音乐家来说,这两个程序也有较低价格和/或学生版本,因此您可以以便宜的价格获得类似(但不相同)的功能。

The two most popular music notation programs today are Finale (finalemusic.com) and Sibelius (sibelius.com). Both programs work in similar fashion; Finale costs a flat $600, while Sibelius is sold on a subscription basis for $9.99/month. Fortunately for cost-conscious or outright starving musicians, both programs are also available in lower-priced and/or student versions, so you can get similar (but not identical) functionality at a bargain price.

如果 Finale 和 Sibelius 对您来说有点贵或过于强大,也可以使用其他成本较低的记谱程序。Finale 提供 119.95 美元的 PrintMusic、49.95 美元的 SongWriter 和免费的 NotePad,每种都可以满足要求较低的需求。Sibelius 提供售价 119.95 美元的 Sibelius First 程序,其特性和功能与 PrintMusic 类似。然后还有免费的 MuseScore (musescore.org) 和 ScoreCloud ( scorecloud.com )、24.00 美元的 Forte Basic ( fortenotation.com ) 和 59.99 美元的 Notation Musician ( notation.com )。如果您有一台 Microsoft Surface Pro 平板电脑,则可以使用售价 69.99 美元的 StaffPad 应用程序 ( staffpad.net ),使用平板电脑的手写笔直接在屏幕上书写乐谱。

If Finale and Sibelius are a little pricey or overpowered for you, other, lower-cost notation programs are available, too. Finale offers the $119.95 PrintMusic, $49.95 SongWriter, and free NotePad, each serving less-demanding needs. Sibelius offers the $119.95 Sibelius First program, similar in features and functionality to PrintMusic. Then there’s the free MuseScore (musescore.org) and ScoreCloud (scorecloud.com), $24.00 Forte Basic (fortenotation.com), and $59.99 Notation Musician (notation.com). And if you have one of Microsoft’s Surface Pro tablets, the $69.99 StaffPad app (staffpad.net) lets you write your scores directly onscreen with the tablet’s stylus.

锻炼

Exercise

练习21-1

Exercise 21-1

使用一张空白的乐谱纸或您选择的乐谱程序为大乐队创建一个简单的八小节图表。您的作品以节奏部分中列出的和弦进行为基础,并使用每种乐器的移调键。

Use a blank piece of score paper or your music notation program of choice to create a simple eight-measure chart for big band. Base your piece on the chord progressions listed in the rhythm parts, and use the transposed keys for each instrument.

您至少需要知道的

The Least You Need to Know

  • 主奏谱呈现旋律、和弦和歌词。
  • Lead sheets present melody, chords, and lyrics.
  • 和弦表仅用于呈现和弦,并且可以使用标准和弦符号或简化的纳什维尔数字系统符号。
  • Chord sheets are used to present chords only—and can use standard chord notation or the simplified Nashville Number System of notation.
  • 合唱乐谱包括女高音、女低音、男高音、男低音的各个声部以及钢琴伴奏。
  • Choral scores include individual parts for soprano, alto, tenor, and bass plus piano accompaniment.
  • 乐队和管弦乐乐谱包括每种乐器的单独五线谱,并且可以用音乐会或移调键编写。
  • Band and orchestral scores include separate staves for each instrument—and can be written in either concert or transposed keys.
  • 通过计算机化的乐谱程序,例如 Finale 或 Sibelius,可以使创作书面音乐的苦差事变得更加容易。
  • The chore of creating written music can be made easier by computerized music notation programs, such as Finale or Sibelius.

结尾

Coda

这本书就这样结束了——也是你第一次接触基础音乐理论。我希望这些页面中的信息对您有所帮助,并且我已经向您传递了我对音乐创作方式的热爱和热情。

Thus ends this book—and your first exposure to basic music theory. I hope you’ve found the information in these pages helpful, and that I’ve passed on some of my love and enthusiasm for how music gets created.

要记住的关键一点(除了所有音符和节奏等)是这些音乐构建块供您使用 - 无论您喜欢什么。我们可以说有规则和惯例,但在创作音乐时,所有规则都是为了被打破的。最终重要的是一首音乐对你和你的听众来说听起来如何。

The key thing to remember (aside from all the notes and rhythms and such) is that these musical building blocks exist for you to use—however you like. We may say that there are rules and conventions, but when it comes to creating music, all the rules are made to be broken. What ultimately matters is how a piece of music sounds—to you, and to your listeners.

理论是好的,但它只是现实世界中发生的事情的指导方针。如果您想在和声中使用平行五度,请继续。如果您想降五度音或将转至 ii 和弦而不是 I 和弦,那就这么做吧。一些最伟大的音乐作品打破了各种规则。只要听起来好听,就一切都好。

Theory is good, but it’s just a guideline for what happens out in the real world. If you want to use parallel fifths in your harmony, go ahead. If you want to flat a fifth or resolve a turnaround to the ii chord instead of the I, do it. Some of the greatest pieces of music have broken all sorts of rules. As long as it sounds good, it’s all okay.

然而,仅仅因为你读完了这本书,并不意味着你的音乐教育已经结束。事实上,如果你选择让音乐成为你生活的一部分,你的教育就永远不会结束。您听的每一首歌、您听到的每首音乐都是一个了解您喜爱的音乐的机会。保持你的耳朵开放,思想自由,你将在余下的音乐生活中继续扩展你的知识和技能。

Just because you’re done with this book, however, doesn’t mean that your music education has ended. In fact, if you choose to make music a part of your life, your education never ends. Every song you listen to, every piece of music you hear is an opportunity to learn more about the music you love. Keep your ears open and your mind free, and you’ll continue to expand your knowledge and skills for the rest of your musical life.

您还可以通过更多阅读来进一步加深您的音乐教育。如果您认真想成为一名更好的音乐家,我建议您查看以下书籍:

You can also further your music education with more reading. If you’re serious about becoming a better musician, I recommend you check out the following books:

编曲与作曲(David Baker,Alfred Publishing,1970 年;修订版,1988 年)

Arranging and Composing (David Baker, Alfred Publishing, 1970; revised edition, 1988)

编排概念完成(Dick Grove,Alfred Publishing,1972 年;第二版,1985 年)

Arranging Concepts Complete (Dick Grove, Alfred Publishing, 1972; second edition, 1985)

《聆听和创作音乐:当今音乐家的专业培训》(Ron Gorow,九月出版,2000 年;第二版,2015 年)

Hearing and Writing Music: Professional Training for Today’s Musician (Ron Gorow, September Publishing, 2000; second edition, 2015)

歌曲创作中的旋律:创作热门歌曲的工具和技术(Jack Perricone,伯克利出版社,2000 年)

Melody in Songwriting: Tools and Techniques for Writing Hit Songs (Jack Perricone, Berklee Press, 2000)

声音和乐谱:专业管弦乐实用指南(Henry Mancini,Northridge Music Inc.,1973 年)

Sounds and Scores: A Practical Guide to Professional Orchestration (Henry Mancini, Northridge Music Inc., 1973)

编排研究(Samuel Adler,WW Norton & Company,第四版,2016 年)

The Study of Orchestration (Samuel Adler, W.W. Norton & Company, fourth edition, 2016)

Tunesmith:歌曲创作艺术内部(Jimmy Webb,Hyperion,1998)

Tunesmith: Inside the Art of Songwriting (Jimmy Webb, Hyperion, 1998)

《音乐中该听什么》(Aaron Copland,导师,1939 年;平装版,2011 年)

What to Listen for in Music (Aaron Copland, Mentor, 1939; softcover revision, 2011)

如果我没有提到我写的其他一些音乐书,那就是我的失职。就像这本书一样,它们都属于 Alpha Books 的白痴指南系列,并且(我希望)同样易于阅读和遵循。这些书包括:

I’d be remiss if I didn’t also mention some of the other music books that I have written. Like this book, they’re all in Alpha Books’ Idiot’s Guides series, and (I hope) are equally easy to read and follow. These books include:

《白痴指挥音乐完全指南》(迈克尔·米勒,Alpha Books,2012 年)

The Complete Idiot’s Guide to Conducting Music (Michael Miller, Alpha Books, 2012)

音乐行业白痴完全指南(Michael Miller,Alpha Books,2010)

The Complete Idiot’s Guide to the Music Business (Michael Miller, Alpha Books, 2010)

完全白痴音乐创作指南(Michael Miller,Alpha Books,2005 年)

The Complete Idiot’s Guide to Music Composition (Michael Miller, Alpha Books, 2005)

音乐史白痴完全指南(Michael Miller,Alpha Books,2008 年)

The Complete Idiot’s Guide to Music History (Michael Miller, Alpha Books, 2008)

完整的白痴打鼓指南(Michael Miller,Alpha Books,2000 年;第二版,2004 年)

The Complete Idiot’s Guide to Playing Drums (Michael Miller, Alpha Books, 2000; second edition, 2004)

《白痴歌唱完全指南》(Michael Miller 和 Phyllis Fulford,Alpha Books,2003 年;第二版,2014 年)

The Complete Idiot’s Guide to Singing (Michael Miller and Phyllis Fulford, Alpha Books, 2003; second edition, 2014)

当然,如果你真的想学习音乐,你需要一个好老师。无论您是与专业教育家一对一学习,还是在您最喜欢的学校或大学参加音乐课程,老师都可以提供培养您自己独特的音乐技能所需的个人指导。

Of course, if you really want to learn about music, you need a good teacher. Whether you study one-on-one with a professional educator, or attend music classes at your favorite school or university, a teacher can provide the individual instruction that’s necessary to develop your own unique musical skills.

互联网上也有许多音乐理论资源。这些往往每年都会发生变化,所以去谷歌搜索“音乐理论”,看看你能找到什么。我最喜欢的网站包括 Teoría Music Theory Web ( teoria.com ) 和Musictheory.net ( musictheory.net ),尽管快速 Google 搜索会找到更多可供探索的网站。

There are also many music theory resources on the internet. These tend to change from year to year, so go to Google and do a search on “music theory” and see what you find. Among my favorite sites are Teoría Music Theory Web (teoria.com) and Musictheory.net (musictheory.net)—although a quick Google search will find even more sites to explore.

当您在线时,请务必查看我的个人网站 ( millerwriter.com )。在那里您可以找到有关我最新的图书项目的信息以及对本书中信息的任何更新或更正。还有一个联系表,您可以使用它以我的方式发送消息或问题。(您也可以在 Twitter 上关注我;我的用户名是@molehillgroup。)

While you’re online, make sure you check out my personal website (millerwriter.com). There you’ll find information about my latest book projects and any updates or corrections to the information in this book. There’s also a contact form you can use to send messages or questions my way. (You can also follow me on Twitter; my handle is @molehillgroup.)

如果你和我一样热爱音乐,你会想尽可能多地体验它。你演奏、唱歌或聆听的次数越多,你就会越了解音乐背后的理论。因此,放下这本书,聆听您最喜欢的音乐,或者拿起您的乐器开始演奏。音乐在等你!

If you love music, as I do, you’ll want to experience as much of it as possible. The more you play, or sing, or just listen, the more you’ll learn about the theory behind the music. So put down this book and listen to your favorite music—or pick up your instrument and start playing. The music is waiting for you!

附录

A

APPENDIX

A

词汇表

Glossary

无伴奏合唱 没有乐器伴奏的声乐。

a cappella Vocal music, without instrumental accompaniment.

a 速度返回上一个速度。

a tempo Return to the previous tempo.

accelerando逐渐加速。(缩写为加速。)

accelerando Gradually speed up. (Abbreviated as accel.)

重音比普通音符演奏得更响或更重的音符。

accent A note played louder or with more emphasis than regular notes.

意外用于升高和降低指示音高的标记。升号将音符提高半音,降号将音符降低半音,自然音将音符恢复到原始音高。

accidental A marking used to raise and lower the indicated pitch. Sharps raise the note a half step, flats lower the note a half step, and naturals return the note to the original pitch.

慢板速度标记,用于中等缓慢的速度,比慢板稍快。

adagietto Tempo marking for a moderately slow tempo, slightly faster than adagio.

慢板速度标记,用于中等缓慢的速度。

adagio Tempo marking for a moderately slow tempo.

allegretto Tempo 标记为中等快的速度,不如 allegro 快。

allegretto Tempo marking for a moderately fast tempo, not quite as fast as allegro.

allegro Tempo 标记用于快速、欢快的节奏。

allegro Tempo marking for a fast, cheerful tempo.

改变的低音和弦在低音中带有除根音之外的其他音符的​​和弦。改变后的低音音符通常在斜线后标注,如下所示:Am7/D。

altered bass chord A chord with some note other than the root in the bass. The altered bass note is typically notated after a slash, like this: Am7/D.

中音谱号 (alto clef)一种谱号,主要由中提琴使用,将中间 C 放在五线谱的中线上。

alto clef A clef, used primarily by the viola, that places middle C on the middle line of the staff.

女低音最低的女声。

alto voice The lowest female voice.

行板速度标记,用于温和的步行速度。

andante Tempo marking for a moderate, walking tempo.

行板速度标记,用于中等速度,比行板稍快。

andantino Tempo marking for a moderate tempo, slightly faster than andante.

琶音一种分解的和弦,一次演奏一个音符。

arpeggio A chord that is broken up and played one note at a time.

发音音符的敲击、持续和释放的方式。一种是通过使用连奏、断奏、缓音等标记来表示发音。

articulation The manner in which notes are struck, sustained, and released. One indicates articulation by the use of markings such as legato, staccato, tenuto, and so on.

无调性没有音调中心和基本调的音乐。在纯无调性音乐中,半音阶的音符被公正且独立地使用,没有主音或主音。

atonality Music that has no tonal center and no underlying key. In pure atonal music, the notes of the chromatic scale are used impartially and independently, with no home degree or tonic.

Attack声音的开始部分。

attack The beginning part of a sound.

增和弦具有大三度和升五度的和弦 (1-3-♯5)。

augmented chord A chord with a major third and a raised fifth (1-3-♯5).

backbeat 4/4 拍子中的第二拍和第四拍,通常由鼓手在军鼓上演奏。

backbeat In 4/4 time, beats two and four, typically played by the drummer on the snare drum.

请参阅测量。

bar See measure.

小节线放置在五线谱小节之间的垂直线。

bar line The vertical line placed on the staff between measures.

男中音介于男低音和男高音之间的男性声音;在合唱音乐中并不总是孤立的。

baritone voice A male voice pitched between the bass and tenor voices; not always isolated in choral music.

低音和弦的最低音高(不一定是根音)。

bass The lowest pitch of a chord (not necessarily the root).

bass clef(低音谱号)一种谱号,用于低音调的声音和乐器,将中间 C 放置在五线谱上方的第一条线上。

bass clef A clef, used by lower-pitched voices and instruments, that places middle C on the first ledger line above the staff.

男低音最低的男声。

bass voice The lowest male voice.

节拍任何音乐时间的脉动单位。

beat Any pulsing unit of musical time.

大乐队演奏爵士音乐的大型乐团,由萨克斯管、小号、长号和节奏组组成。

big band A large ensemble for playing jazz music, consisting of saxophones, trumpets, trombones, and a rhythm section.

块和弦一种完整的和弦,所有音符同时演奏,通常与旋律具有相同的节奏。

block chord An unbroken chord, where all the notes are played at once, typically along with the same rhythm as the melody.

布鲁斯音乐,起源于非裔美国人社区,融合了降音符和特定的和弦进行(布鲁斯进行)。

blues Music, originating in the African American community, that incorporates flatted notes and a specific chord progression (the blues progression).

布鲁斯进行布鲁斯和爵士音乐中常见的 12 小节和弦序列,如下所示:IIII-IV-IV-II-V7-V7-II。

blues progression A 12-bar sequence of chords common in blues and jazz music, as follows: I-I-I-I-IV-IV-I-I-V7-V7-I-I.

布鲁斯音阶布鲁斯音乐中使用的音阶,具有以下音阶音调:1-♭3-4-♭5-5-♭7。

blues scale The scale used in blues music with the following scale tones: 1-♭3-4-♭5-5-♭7.

黄铜乐器家族,通常由黄铜制成,通过吹口吹气而发出声音。铜管乐器家族包括小号、长号、大号和圆号。

brass The family of instruments, typically made of brass, that produces sound by blowing through a mouthpiece. The brass family includes the trumpet, trombone, tuba, and French horn.

分解和弦 琶音和弦的另一个名称,其中音符按顺序演奏,而不是同时演奏。

broken chord Another name for an arpeggiated chord, where the notes are played in sequence as opposed to all at once.

节奏暂停或停止点,通常是插入在短语或音乐片段末尾的短和弦进行。

cadence A pause or stopping point, typically a short chord progression inserted at the end of a phrase or piece of music.

卡农一种音乐形式,其中旋律由各个部分以对位方式模仿。

canon A musical form in which the melody is imitated by various parts in contrapuntal fashion.

合唱团大型合唱团。

choir A large vocal ensemble.

和弦同时演奏三个或更多音符。

chord Three or more notes played simultaneously.

和弦进行多个小节上的一系列和弦。

chord progression A series of chords over a number of measures.

和弦表只包含歌曲和弦的乐谱。

chord sheet A sheet of music containing only the chords of a song.

音阶 位于基础调或音阶之外的音高。与全音阶相反。

chromatic Pitches outside the underlying key or scale. The opposite of diatonic.

半音音阶包含 12 个八度音阶的音阶 - 一个八度内的所有白键和黑键。

chromatic scale A scale containing 12 equal divisions of the octave—all the white keys and black keys within an octave.

谱号放置在五线谱开头的图形符号,用于指示五线谱上音符的音高。

clef A graphic symbol placed at the beginning of the staff to indicate the pitch of the notes on the staff.

尾声乐曲末尾的一小段。

coda A short section at the end of a composition.

公共拍号 4/4 拍号。

common time The 4/4 time signature.

复合和弦两个和弦同时响起。通常用两个和弦之间的垂直斜线表示。

compound chord Two chords sounded together. Typically notated with a vertical slash between the two chords.

音乐会调 请参阅音乐会音高。

concert key See concert pitch.

音乐会音高一首音乐的实际(非移调)音高;一些乐器(例如小号)读取从音乐会音高转换而来的音乐。

concert pitch The actual (nontransposed) pitch of a piece of music; some instruments (such as the trumpet) read their music transposed from concert pitch.

和谐音调的和谐组合。与不和谐相反。

consonance Harmonious combination of tones. The opposite of dissonance.

女低音中音音域的较低子集,甚至低于传统的中音音域;并非所有合唱音乐中都使用。

contralto A lower subset of the alto voice, even lower than the traditional alto range; not used in all choral music.

对位法 请参见对位法。

contrapuntal See counterpoint.

相反的运动一个声音的移动方向与另一个声音的移动方向相反。

contrary motion Where one voice moves in the opposite direction of another.

对位法两个或多个同时的、独立的台词或声音。一些音乐理论家对对位线的创作应用严格的规则。

counterpoint Two or more simultaneous, independent lines or voices. Some music theorists apply strict rules to the creation of contrapuntal lines.

渐强 逐渐变大。

crescendo Gradually louder.

cut time 2/2 拍号。

cut time The 2/2 time signature.

DC al Coda Navigation 标记的意思是回到开头并播放到 Coda 标志;然后跳到尾声部分。

D.C. al Coda Navigation marking meaning to go back to the beginning and play to the Coda sign; then skip to the Coda section.

DC al Fine Navigation 标记的意思是回到开头并玩到结尾。

D.C. al Fine Navigation marking meaning to go back to the beginning and play through to the end.

DS al Coda Navigation 标记的意思是返回 Segno 标志并播放到 Coda 标志;然后跳到尾声部分。

D.S. al Coda Navigation marking meaning to go back to the Segno sign and play to the Coda sign; then skip to the Coda section.

DS al Fine Navigation 标记的意思是返回 Segno 标志并玩到底。

D.S. al Fine Navigation marking meaning to go back to the Segno sign and play through to the end.

decrescendo逐渐柔和。

decrescendo Gradually softer.

基本调或音阶中的全音阶音符或和弦。例如,在C大调中,全音阶音符为C、D、E、F、G、A和B;所有其他音符都是半音阶。

diatonic Notes or chords that are in the underlying key or scale. For example, in the key of C Major, the diatonic notes are C, D, E, F, G, A, and B; all other notes are chromatic.

减和弦具有小三度和减五度的和弦 (1-♭3-♭5)。

diminished chord A chord with a minor third and a diminished fifth (1-♭3-♭5).

协和音 听起来不和谐且不稳定的音调组合,需要解决为更令人愉悦且稳定的和声。与和谐相反。

dissonance A combination of tones that sounds discordant and unstable, in need of resolution to a more pleasing and stable harmony. The opposite of consonance.

除法节拍的小数部分。

division Fractional parts of a beat.

音 音阶的第五度,主音之上的纯五度。也指建立在第五音阶上的和弦。

dominant The fifth degree of a scale, a perfect fifth above the tonic. Also refers to the chord built on this fifth scale degree.

属七和弦附加小七和弦 (1-3-5-♭7) 的大和弦。通常出现在音阶的第五度,并标记为 V7。

dominant seventh chord A major chord with a minor seventh added (1-3-5-♭7). Typically found on the fifth degree of the scale, and noted as V7.

doppio movimento播放速度提高两倍。

doppio movimento Play twice as fast.

双条放置在五线谱上的两条垂直线,表示一个部分或一个乐曲的结束。

double bar Two vertical lines placed on the staff to indicate the end of a section or a composition.

悲观一个小节中的大调节拍;在 4/4 拍中,强拍是 1、2、3 和 4。(一些理论家认为每小节只有一个强拍——第一个拍。)

downbeat The major beats in a measure; in 4/4 time, the downbeats are 1, 2, 3, and 4. (Some theoreticians hold that there is only one downbeat per measure—the very first beat.)

力度不同程度的响亮和柔和。例如,forte表示响亮的动态,而piano表示柔和的动态。

dynamics Varying degrees of loud and soft. For example, forte signifies a loud dynamic, while piano signifies a soft dynamic.

音 同一声音的不同记谱法;例如,F♯和G♭是等音音符。

enharmonic Different notations of the same sound; for example, F♯ and G♭ are enharmonic notes.

扩展和弦在基本三和弦之上添加附加音符(通常为三度)的和弦。(一些理论家认为七和弦是扩展和弦;另一些理论家则不这么认为。)

extended chords Chords with additional notes (typically in thirds) added above the basic triad. (Some theoreticians consider seventh chords extended chords; others don’t.)

fermata用于指示应无限期保留音符的符号。有时称为“鸟眼”。

fermata Symbol used to indicate that a note should be held indefinitely. Sometimes called a “bird’s eye.”

旗标八分音符、十六分音符以及所有悬挂在符干上的小音符的部分。旗形始终位于符干的末端,因此如果符干朝上,则旗形位于符头上方;如果符干朝下,则旗形位于符头下方。

flag The part of eighth notes, sixteenth notes, and all smaller notes dangling off the stem. The flag is always at the end of the stem, so if the stem is pointing up, the flag is above the notehead; if the stem is pointing down, the flag is below the notehead.

调 任何音高降低半音;由♭符号表示。

flat The lowering of any pitch by a half step; signified by the ♭ sign.

音大声。(缩写为 f。)

forte Loud. (Abbreviated as f.)

强音非常响亮。(缩写为 ff。)

fortissimo Very loud. (Abbreviated as ff.)

强音非常非常响亮。(缩写为 fff。)

fortississimo Very, very loud. (Abbreviated as fff.)

频率对空气分子振动速度的科学测量;振动越快,音调越高。

frequency A scientific measurement of how fast the molecules of air are vibrating; the faster the vibrations, the higher the pitch.

赋格曲一种由单一主题构成的对位形式。

fugue A contrapuntal form that is built from a single subject.

滑音一种从一个音高过渡到另一个音高的机制,尽可能流畅地演奏两个音符之间的每个音高。

glissando A mechanism for getting from one pitch to another, playing every single pitch between the two notes as smoothly as possible.

装饰音符一个或多个音符,轻快地演奏,位于主音符之前。

grace note One or more notes, played lightly and quickly, that precede a main note.

严重的节奏标记,用于非常缓慢或庄严的节奏。

grave Tempo marking for a very slow or solemn pace.

半音半音阶中音符之间的最小距离。

half step The smallest distance between notes in a chromatic scale.

和声作曲首先用和弦作曲,然后将旋律融入这些和弦。

harmonic composition Composing with the chords first and then fitting a melody to those chords.

和声音程同时响起的两个音符之间的音程,以产生和声。(将此与旋律音程进行对比,旋律音程由依次演奏的两个音符组成,以创建旋律。)

harmonic interval The interval between two notes sounded simultaneously to create harmony. (Contrast this with a melodic interval, which consists of two notes played one after another to create a melody.)

和声节奏 和弦进行的节奏。

harmonic rhythm The pace of a chord progression.

和声选择伴奏旋律线的和弦。

harmonization The choice of chords to accompany a melodic line.

和谐音调组合的声音。也用来指主旋律后面的伴奏部分。

harmony The sound of tones in combination. Also used to refer to the accompanying parts behind the main melody.

音程两个音高或音符之间的距离。

interval The distance between two pitches or notes.

转位低音音符不是和弦根音的和弦。

inversion A chord in which the bass note is not the root of the chord.

爵士乐队 请参阅大乐队。

jazz band See big band.

主音和调式的组合。例如,F大调以F为主音,以大调为调式。

key A combination of a tonic and a mode. For example, the key of F Major has F as the tonic and major as the mode.

调号位于五线谱开头的升号或降号,用于指示音乐的调。

key signature The sharps or flats that are placed at the beginning of a staff to indicate the key of the music.

larghetto Tempo 标记为慢速,比 largo 稍快。

larghetto Tempo marking for a slow tempo, slightly faster than largo.

largo Tempo 标记用于缓慢而庄严的节奏。

largo Tempo marking for a slow and dignified tempo.

主奏乐谱一首乐谱,包含一根旋律五线谱,伴奏和弦写在五线谱上方。

lead sheet A piece of sheet music that contains a single staff for the melody, with the accompanying chords written above the staff.

主音 比主音低半音的音符;因此导致了补品。

leading tone The note that is a half step below the tonic; thus leads up to the tonic.

lento慢速标记。

lento Tempo marking for a slow tempo.

大调最常见的调式,由以下音程组成:全-全-半-全-全-全-半。

major The most common mode, consisting of the following intervals: whole-whole-half-whole-whole-whole-half.

大和弦具有大三度的和弦 (1-3-5)。

major chord A chord with a major third (1-3-5).

测量一组节拍,由五线谱上小节线的位置指示。

measure A group of beats, indicated by the placement of bar lines on the staff.

中音音阶的第三级,或建立在该级上的和弦 (III)。

mediant The third degree of a scale, or a chord built on that degree (III).

旋律创作首先创作旋律,然后为该旋律配上和弦。

melodic composition Composing with the melody first and then fitting chords to that melody.

旋律音程依次演奏的两个音符之间的音程。

melodic interval The interval between two notes played one after another.

旋律音调和节奏按逻辑顺序的组合。

melody The combination of tone and rhythm in a logical sequence.

节拍节拍的组织及其划分。

meter The organization of beats and their divisions.

节拍器一种以指定速度精确地打出节拍的装置。节拍器可以是钟摆式的东西,也可以是发出电子节拍的计算机化设备。

metronome A device that precisely ticks off beat after beat at a specified tempo. Metronomes can be either pendulum-type affairs or computerized devices that emit an electronic beat.

中强中等音量。(缩写为 MF)

mezzo forte Medium loud. (Abbreviated as mf.)

中音钢琴中等柔和。(缩写为 mp。)

mezzo piano Medium soft. (Abbreviated as mp.)

微音比半音更小的音程,普遍存在于一些非西方音乐和二十世纪的艺术音乐中。

microtone An interval smaller than a semitone, prevalent in some non-Western music and twentieth-century art music.

小调三种调式之一,每种调式都有三分之一的音阶。自然小调与风神调式相同,音程如下:全-半-全-全-半-全-全。和声小调包含以下音程:全-半-全-全-半-全-半-半。旋律小调的升调和降调是不同的;升序时,音程为全-半-全-全-全-全-半,而降序则使用与自然小调相同的音程。

minor One of three modes, each with a flatted third of the scale. Natural minor is identical to Aeolian mode, with the following intervals: whole-half-whole-whole-half-whole-whole. Harmonic minor contains the following intervals: whole-half-whole-whole-half-whole-half-half. Melodic minor is different ascending and descending; ascending, the intervals are whole-half-whole-whole-whole-whole-half, whereas descending it uses the same intervals as natural minor.

小和弦带有小三度 (1-♭3-5) 的和弦。

minor chord A chord with a minor third (1-♭3-5).

调式(1) 表示大调或小调音阶或乐曲结构的一系列音符。(2) 一套音阶,以当今大调和小调音阶之前的数百年历史音乐为基础;其中包括多里安调式、弗里吉亚调式、吕底亚调式、混合吕底亚调式、爱奥尼亚调式、洛克调式和伊奥利亚调式。

mode (1) A series of notes that indicate the structure of a major or minor scale key or piece. (2) A set of scales, based on centuries-old music that preceded today’s major and minor scales; these include the Dorian, Phrygian, Lydian, Mixolydian, Ionian, Locrian, and Aeolian modes.

moderato节奏标记,用于中等节奏。

moderato Tempo marking for a moderate pace.

转调一首音乐中调的变化。

modulation A change of key within a piece of music.

molto速度标记修改器;意思是“非常”。

molto Modifier for tempo markings; means “very.”

经文歌两个或多个声部的短篇无伴奏声乐作品。

motet Short, unaccompanied vocal work for two or more voices.

主题(或动机)简短的旋律或节奏的想法。

motif (or motive) A brief melodic or rhythmic idea.

邻音 比主音高或低一级的全音阶音。

neighboring tone A tone one diatonic step above or below the main tone.

记谱在纸上书写音符的艺术。

notation The art of writing musical notes on paper.

note用于指示声音的持续时间和音高的符号,如全音符、半音符和四分音符。

note A symbol used to indicate the duration and pitch of a sound, as in whole notes, half notes, and quarter notes.

音符头音符的大椭圆形部分。符干始终附在符头上。

notehead The big, oval part of a note. The stem is always attached to the notehead.

八度两个同名的音高,相距 12 个半音。

octave Two pitches, with the same name, located 12 half steps apart.

奇数拍号任何非 4/4 拍号,例如 3/4、5/4 或 9/8。

odd time Any non-4/4 time signature, such as 3/4, 5/4, or 9/8.

管弦乐队为演奏交响乐和其他器乐作品、或为歌剧或其他舞台表演伴奏而组织的一组乐器。

orchestra A group of instruments organized for the performance of symphonies and other instrumental works, or to accompany an opera or other staged presentation.

管弦乐编曲为管弦乐队或乐队配乐的艺术。也称为整理。

orchestration The art of scoring music for an orchestra or band. Also called arranging.

平行运动两个或多个声音同时以相同的步骤移动。

parallel motion Two or more voices that move in identical steps, simultaneously.

过音(passingtone)直接位于(按音阶)两个主音高之间的音高;传递音通常用于连接旋律中的音符。

passing tone A pitch located (scale-wise) directly between two main pitches; passing tones are typically used to connect notes in a melody.

踏板点在变化的和声下方持续的音符。

pedal point A note sustained below changing harmonies.

五声音阶五音音阶,音程为全、全、全半、全、全半;就大调音阶而言,音阶度数(不包括八度)为 1-2-3-5-6。

pentatonic scale A five-note scale with the intervals of whole, whole, whole and a half, whole, whole and a half; in relationship to a major scale, the scale degrees (not counting the octave) are 1-2-3-5-6.

打击乐器敲击、敲打、撞击、摇动、滚动、刮擦、摩擦、扭曲或摇晃时发出声音的乐器家族。该家族包括各种类型的鼓和铙钹,以及木槌乐器(马林巴、木琴等)和定音鼓。

percussion The family of instruments that produce sound when you hit, beat, crash, shake, roll, scratch, rub, twist, or rattle them. Included in this family are various types of drums and cymbals, as well as mallet instruments (marimba, xylophone, and so forth) and timpani.

完美音高无需任何外部帮助即可在头脑中听到绝对音高的能力。

perfect pitch The ability to hear absolute pitches in your head, without any outside assistance.

乐句在一首音乐中,由节奏、旋律或和声统一起来并以某种方式结束的片段。通常由 2、4、8、16 或 32 个小节组成。

phrase Within a piece of music, a segment that is unified by rhythms, melodies, or harmonies and that comes to some sort of closure. Typically composed in groups of 2, 4, 8, 16, or 32 measures.

极弱非常柔和。(缩写为页码)

pianissimo Very soft. (Abbreviated as pp.)

pianississimo非常非常柔软。(缩写为 ppp。)

pianississimo Very, very soft. (Abbreviated as ppp.)

钢琴(1) 轻柔。(缩写为p。) (2) 一种88键键盘乐器,也称为钢琴。

piano (1) Soft. (Abbreviated as p.) (2) An 88-key keyboard instrument, also known as the pianoforte.

音调音调的高低。(用科学术语来说,就是特定的频率。)

pitch The highness or lowness of a tone. (In scientific terms, a specific frequency.)

复调音乐将几条同时出现的旋律线混合在一起。

polyphony The mixing together of several simultaneous melodic lines.

多节奏同时演奏或相互对抗的两个或多个节奏。

polyrhythm Two or more rhythms played simultaneously, or against each other.

多调性同时使用一种以上的调性。

polytonality Employing more than one tonality simultaneously.

prestissimo速度标记用于极快的速度,比急板更快。

prestissimo Tempo marking for an extremely fast tempo, faster than presto.

presto Tempo 标记非常快的速度。

presto Tempo marking for a very fast tempo.

主和弦调中最重要的和弦:I、IV、V。

primary chords The most important chords in a key: I, IV, V.

rallentando逐渐放慢速度。(缩写为 rall。)

rallentando Gradually slow down. (Abbreviated as rall.)

相对密钥共享相同密钥签名但不同根的密钥。例如,A 小调和 C 大调是相对键。

relative keys Keys that share the same key signature, but not the same root. For example, A minor and C Major are relative keys.

解决将暂停的音符向下移动到和弦的和弦音的行为。

resolve The act of moving a suspended note down to a chord tone of the chord.

休息用于表示沉默或不演奏特定音符的符号。

rest A symbol used to denote silence or not playing a particular note.

节奏声音在时间上的组织;音乐中节拍和重音的安排。

rhythm The organization of sound in time; the arrangement of beats and accents in music.

节奏部分这些乐器在较大的合奏中提供节奏脉冲,通常由键盘、吉他、贝斯和鼓组成。

rhythm section Those instruments providing the rhythmic pulse in a larger ensemble, typically consisting of keyboards, guitars, bass, and drums.

ritardando逐渐放慢速度。(缩写为 rit. 或 ritard。)

ritardando Gradually slow down. (Abbreviated as rit. or ritard.)

ritenuto控制住节奏。(缩写为riten。)

ritenuto Hold back the tempo. (Abbreviated as riten.)

根音和弦中的基本音符。

root The fundamental note in a chord.

SATB女高音、女低音、男高音和男低音的缩写。(合唱乐谱有时称为 SATB 乐谱。)

SATB Shorthand for soprano, alto, tenor, and bass. (Choral scores are sometimes called SATB scores.)

音阶相关音高的序列,按升序或降序排列。

scale A sequence of related pitches, arranged in ascending or descending order.

乐谱(1) 对合奏中每种乐器演奏的所有单独声部的书面描述。(2) 编排一首曲子。

score (1) The written depiction of all the individual parts played of each of the instruments in an ensemble. (2) To orchestrate a composition.

半音半音的音程。

semitone The interval of a half step.

尖锐将任何音高提高半音;由♯符号表示。

sharp The raising of any pitch by a half step; signified by the ♯ sign.

随机播放基于三连音或附点八分音符/十六分音符模式的节奏感。

shuffle A rhythmic feel based on triplets or a dotted eighth note/sixteenth note pattern.

相似运动两个或多个声音朝同一方向移动,但间隔不同。

similar motion Two or more voices that move in the same direction, but not with the same intervals.

奏鸣曲以独特且对比鲜明的乐章演奏的器乐作品。

sonata A piece of instrumental music performed in distinct and contrasting movements.

歌曲形式一首短曲的结构;通常用 AABA 表示。

song form The structure of a short piece of music; usually diagramed as A-A-B-A.

女高音最高的女声。

soprano voice The highest female voice.

谱表代表不同音高(由所使用的谱号定义)的水平线和空间的组合。

staff An assemblage of horizontal lines and spaces that represent different pitches (as defined by the clef used).

弦乐团由弦乐部分的五种主要乐器组成的合奏团,有时由钢琴伴奏。

string orchestra An ensemble consisting of the five primary instruments of the string section, sometimes accompanied by piano.

弦乐四重奏由第一小提琴和第二小提琴、中提琴和大提琴组成的四人合奏团。

string quartet A four-piece ensemble consisting of first and second violin, viola, and cello.

弦乐通过在弦上移动弓来产生声音的乐器家族。弦乐家族包括小提琴、中提琴、大提琴和低音提琴。

strings The family of instruments that produces sound by moving a bow across a string. The string family includes the violin, viola, cello, and double bass.

下属音 音阶的第四度,或建立在第四度 (IV) 上的和弦。

subdominant The fourth degree of the scale, or the chord built on the fourth degree (IV).

下中音音阶的第六度,或建立在该度上的和弦 (vi)。

submediant The sixth degree of a scale, or the chord built on that degree (vi).

亚主音音阶的第七度,或建立在该度上的和弦 (vii°)。(在古典理论中,亚主音是降七度,而正常七度称为导音。)

subtonic The seventh degree of a scale, or the chord built on that degree (vii°). (In classical theory, the subtonic is the lowered seventh, whereas the normal seventh is called the leading tone.)

上主音音阶的第二度,或建立在该度上的和弦 (ii)。

supertonic The second degree of a scale, or the chord built on that degree (ii).

悬吊在和弦中使用的非和弦音符以产生张力。悬置音符通常是和弦的第四音,然后分解为第三音。

suspension A nonchord note used within a chord to create tension. The suspended note is typically the fourth of the chord, which then resolves down to the third.

交响乐团 参见交响乐团。

symphonic orchestra See orchestra.

切分音对意外节拍的重音,或对预期节拍缺乏重音。

syncopation An accent on an unexpected beat—or the lack of an accent on an expected beat.

节奏 歌曲中播放节拍的速度。

tempo The rate of speed at which beats are played in a song.

tempo primo返回到乐曲开头指定的速度。

tempo primo Return to the tempo designated at the beginning of a piece.

男高音最高的男声。

tenor voice The highest male voice.

主题反复出现的旋律或节奏模式或想法;乐曲中的主要旋律乐句。

theme A recurring melodic or rhythmic pattern or idea; the main melodic phrase in a composition.

第三音阶的第一级和第三级之间的间隔;可以是小调(三个半音)或大调(两个全音)。

third The interval between the first and third degree of a scale; can be either minor (three half steps) or major (two whole steps).

tie两个或多个音符上方或下方的一条曲线,将两个音符“连接”在一起。

tie A curved line over or under two or more notes that “ties” the two notes together into one.

音色音质(如“那个小号演奏者的音色丰富”)。

timbre Sound quality (as in, “That trumpet player has a rich timbre”).

拍号带有两个数字的符号,一个在另一个之上(如分数),表示歌曲的基本拍子。上面的数字表示一个小节中有多少节拍;底部的数字表示接收一拍的音符类型。

time signature A symbol with two numbers, one on top of the other (like a fraction), that indicates the basic meter of a song. The upper number indicates how many beats are in a measure; the bottom number indicates the type of note that receives one beat.

调性基于大调或小调音阶或调式,围绕主音或主音的音符组织。

tonality The organization of musical notes around a tonic, or home pitch, based on a major or minor scale or mode.

音调以特定音高演奏或演唱的声音。(该术语有时也用于表示音色或音质。)

tone A sound played or sung at a specific pitch. (The term is also used sometimes to indicate timbre, or sound quality.)

主音音阶或调中的主要音符;音阶的第一级或建立在该级上的和弦 (I)。

tonic The primary note in a scale or key; the first degree of a scale or a chord built on that degree (I).

转录用耳朵写下旋律和和弦的艺术,无需任何其他书面符号。

transcribing The art of writing down melodies and chords by ear, without the benefit of any other written notation.

转置 请参阅转置。

transpose See transposition.

移调乐器未按其真实音高标注的乐器。例如,小号的音阶比它听起来高出整整一个音阶;当小号演奏它读作的 C 时,它实际上在音乐会音调中听起来是 B♭。

transposing instruments Those instruments that are not notated at their true pitch. For example, the trumpet is notated a full step higher than it sounds; when a trumpet plays what it reads as a C, it actually sounds a B♭ in concert pitch.

移调将一种音高转换为另一种音高。

transposition Translating one pitch to another.

高音谱号 (treble clef)一种谱号,用于较高音调的声音和乐器,将中间 C 放置在五线谱下方的第一条线上。

treble clef A clef, used by higher-pitched voices and instruments, that places middle C on the first ledger line below the staff.

三和弦三个音符,每个音符与前一个音符相隔三分之一。大多数和弦都是建立在三和弦之上的。

triad Three notes, each a third apart from the previous. Most chords are built on triads.

三连音 以两个音符为一组演奏的三个音符。

triplet A group of three notes performed in the space of two.

三全音由三个全音组成的音程。有时被称为“魔鬼的间隔”。

tritone An interval consisting of three whole steps. Sometimes called “the Devil’s interval.”

Unison (1) 两个音高相同的音符。(2) 歌唱或演奏同一音高的声音或乐器。

unison (1) Two notes of the same pitch. (2) Voices or instruments all singing or playing the same pitch.

强拍强拍之后的八分音符“和”。

upbeat The eighth-note “and” after the downbeat.

vivace Tempo 标记活泼的节奏。

vivace Tempo marking for a lively tempo.

声音旋律或和声线。

voice Melodic or harmonic lines.

声部引导旋律线从一个和弦移动到另一个和弦时的运动。

voice leading The motion of a melodic line as it moves from one chord to another.

发声和弦音符的排列方式。

voicing The way the notes of a chord are arranged.

全步等于两个半步的音程。

whole step An interval equal to two half steps.

木管乐器通过振动木簧片发出声音的乐器家族。木管乐器家族包括单簧管、萨克斯管、双簧管和巴松管。还包括不使用簧片的长笛和短笛。

woodwind The family of instruments that produces sound by vibrating a wooden reed. The woodwind family includes the clarinet, saxophone, oboe, and bassoon. Also included are the flute and the piccolo, which do not use reeds.

附录

B

APPENDIX

B

乐理视唱练耳课程

Music Theory Ear Training Course

欢迎来到乐理视唱练耳课程!本音频课程将引导您逐步了解音乐理论的基本概念,包括音高、音阶、音程、节奏、和弦和旋律。该课程本身是在线的,位于本书的网站:idiotsguides.com/musictheory。从那里,您可以通过依次单击每个曲目来在任何计算机或连接的移动设备上收听流媒体音轨。

Welcome to the Music Theory Ear Training Course! This audio course leads you step-by-step through the essential concepts of music theory, including pitches, scales, intervals, rhythms, chords, and melodies. The course itself is online, at this book’s website: idiotsguides.com/musictheory. From there, you can listen to the streaming audio tracks on any computer or connected mobile device by clicking each track in turn.

要完成音乐理论耳朵训练课程,您所要做的就是听网站上的示例,然后通过音频练习来测试自己。单击以收听每个练习,然后将您的答案写在一张空白的工作纸上。根据需要随意重复每个练习多次。然后,您可以对照本附录中的答案检查您的答案。

To work through the Music Theory Ear Training Course, all you have to do is listen to the examples on the website and then test yourself with the audio exercises. Click to listen to each exercise and then write down your answer on a piece of blank staff paper. Feel free to repeat each exercise as many times as necessary. You can then check your answers against those in this appendix.

曲目列表

Track Listing

追踪 内容
1. 介绍
2. 第一课:推介
3. 推介练习 1–5
4. 推介练习 6–10
5. 推介练习 11–15
6. 推介练习 16–20
7. 推介练习 21–25
8. 推介练习 26–30
追踪 内容
9. 推介练习 31–35
10. 推介练习 36–40
11. 第二课:间隔
12. 间歇练习 1–5
13. 间歇练习 6–10
14. 间歇练习 11–15
15. 间歇练习 16–20
16. 间歇练习 21–25
追踪 内容
17. 间歇练习 26–30
18. 间歇练习 31–35
19. 间歇练习 36–40
20. 间歇练习 41–45
21. 间歇练习 46–50
22. 间歇练习 51–55
23. 间歇练习 56–60
24. 第三课:音阶
25. 音阶练习 1–5
26. 音阶练习 6–10
27. 第四课:节奏
28. 节奏练习 1–5
29. 节奏练习 6–10
30. 节奏练习 11–15
31. 节奏练习 16–20
追踪 内容
32. 节奏练习 21–25
33. 节奏练习 26–30
34. 节奏练习 31–35
35. 节奏练习 36–40
36. 第五课:旋律
37. 旋律练习 1–5
38. 旋律练习 6–10
39. 旋律练习 11–15
40. 旋律练习 16–20
41. 第六课:和弦
42. 和弦练习 1–5
43. 和弦练习 6–10
44. 和弦练习 11–15
45. 和弦练习 16–20
46. 结尾

音频练习答案

Answers to Audio Exercises

将音频练习的答案与此处列出的正确答案进行比较。(不要作弊!)

Compare your answers to the audio exercises with the correct answers listed here. (Don’t cheat!)

音高练习(曲目 3 至 10)

Pitch Exercises (Tracks 3 to 10)

使用网站上播放的高音谱号识别以下音高。

Identify the following pitches, using the treble clef, as played on the website.

追踪 内容
1. A
2. C
3. G
4. B♭(或 A♯,和谐)
追踪 内容
5. F♯(或 G♭,等音)
6.
7. A♭(或 G♯,等音)
8. C♯(或 D♭,等音)
追踪 内容
9. D
10.
11. E♭(或 D♯,等音)
12. B♭(或 A♯,和谐)
13. F
14. A♭(或 G♯,等音)
追踪 内容
15.
16. C
17. C♯(或 D♭,等音)
18. F♯(或 G♭,等音)
19.
20. A

使用网站上播放的低音谱号识别以下低音调。

Identify the following lower pitches, using the bass clef, as played on the website.

追踪 内容
21. C
22. B♭(或 A♯,和谐)
23. D
24. F
25. A♭(或 G♯,等音)
26. G
27.
28. C♯(或 D♭,等音)
29. E♭(或 D♯,等音)
30. F♯(或 G♭,等音)
追踪 内容
31. A
32. C
33. G
34.
35. F♯(或 G♭,等音)
36. B♭(或 A♯,和谐)
37.
38. E♭(或 D♯,等音)
39. A
40. D

间歇练习(曲目 12 至 23)

Interval Exercises (Tracks 12 to 23)

确定以下升序音程,如网站上所示。

Identify the following ascending intervals, as played on the website.

追踪 内容
1. 完美五度
2. 八度
3. 完美第四
4. 大三度
追踪 内容
5. 小三度
6. 完美五度
7. 大六度
8. 大七度
追踪 内容
9. 大二
10. 小六度
11. 完美第四
12. 小二度
13. 小三度
14. 完美五度
追踪 内容
15. 三全音(或增四度或减五度,等音)
16. 大三度
17. 小七度
18. 八度
19. 大六度
20. 大七度

确定以下降序音程,如网站上所示。

Identify the following descending intervals, as played on the website.

追踪 内容
21. 大三度
22. 完美第四
23. 小三度
24. 八度
25. 完美五度
26. 完美五度
27. 大六度
28. 大七度
29. 大二
30. 小六度
31. 小二度
追踪 内容
32. 小三度
33. 完美第四
34. 完美五度
35. 大三度
36. 三全音(或增四度或减五度,等音)
37. 小七度
38. 大六度
39. 八度
40. 大七度

确定每个系列中的音程和第二个音符,如网站上播放的那样。

Identify both the interval and the second note in each series, as played on the website.

追踪 内容
41. 小三度 (AC)
42. 纯五度 (DA)
43. 大七度 (GF♯)
44. 小三度 (B♭-D♭)
45. 全四度 (CF)
46. 大六度 (A♭-F)
47. 八度 (C♯-C♯)
48. 三全音(GC♯ 或 GD♭,等音)
49. 大三度 (DF♯)
50. 小二度 (BC)
追踪 内容
51. 小六度 (CA♭)
52. 小七度 (BA)
53. 小九度 (GA♭)
54. 小三度 (EG)
55. 纯五度 (F♯-C♯)
56. 大二 (DE)
57. 大三度 (EG♯)
58. 大六度 (AF♯)
59. 大七度 (GF♯)
60. 八度 (AA)

音阶练习(曲目 25 和 26)

Scale Exercises (Tracks 25 and 26)

确定以下音阶类型以及每个音阶的起始音符(如网站上演奏的那样)。

Identify the following scale types and the starting note of each scale, as played on the website.

追踪 内容
1. 一个主要的
2. C大调
3. 自然未成年人
4. F大调
5. E自然小调
追踪 内容
6. E 和声小调
7. E旋律小调(升)
8. B♭ 大调
9. D自然小调
10. G旋律小调(升)

节奏练习(曲目 28 至 35)

Rhythm Exercises (Tracks 28 to 35)

转录网站上播放的以下节奏。

Transcribe the following rhythms, as played on the website.

旋律练习(曲目 37 至 40)

Melody Exercises (Tracks 37 to 40)

转录网站上播放的以下旋律。

Transcribe the following melodies, as played on the website.

和弦练习(曲目 42 至 45)

Chord Exercises (Tracks 42 to 45)

识别网站上演奏的和弦类型(大调、小调、减和弦和增和弦)。

Identify the chord types (major, minor, diminished, and augmented), as played on the website.

追踪 内容
1. 主要的
2. 次要的
3. 主要的
4. 主要的
5. 次要的
追踪 内容
6. 减少
7. 主要的
8. 增强型
9. 次要的
10. 减少

识别网站上演奏的以下类型的扩展和弦。

Identify the following types of extended chords, as played on the website.

追踪 内容
11. 大七度
12. 小七度
13. 主导第七
14. 大七度
15. 主导第七
追踪 内容
16. 大九度
17. 主导第七
18. 小九度
19. 大七度
20. 小七度

重复前面的练习,这次写出每个和弦的实际和弦名称(具有正确的起始音高)。

Repeat the previous exercises, this time writing out the actual chord names (with the correct starting pitch) for each chord.

追踪 内容
1. C大调
2. F小调
3. E大调
4. B♭ 大调
5. G小调
6. B减少
7. E♭ 大调
8. E♭ 增强
9. D小调
10. G减少
追踪 内容
11. F大调七度
12. G小调七度
13. E♭ 属七度 (E♭7)
14. D大调第七
15. 占主导地位的第七名(A7)
16. C大调第九
17. F 占主导地位的第七位 (F7)
18. D小调第九
19. E♭ 大七度
20. F♯ 小七度

附录

C

APPENDIX

C

章节练习答案

Answers to Chapter Exercises

以下是那些本质上不开放式的章节练习的答案。(开放式练习——“为这个和弦进行写一段旋律”等——没有一个正确的解决方案,所以它们不包含在这里。)如果您还没有完成练习,请不要做不要作弊——在看答案之前先回去做练习!

Here are the answers to those chapter exercises that weren’t open-ended in nature. (The open-ended exercises—“Write a melody to this chord progression,” and the like—don’t have a single correct solution so they’re not included here.) If you haven’t completed the exercises yet, don’t cheat—go back and do the exercises before you peek at the answers!

第1章

Chapter 1

练习1-1

Exercise 1-1

练习1-2

Exercise 1-2

练习1-3

Exercise 1-3

练习1-4

Exercise 1-4

练习1-5

Exercise 1-5

练习1-6

Exercise 1-6

练习1-7

Exercise 1-7

练习1-8

Exercise 1-8

第2章

Chapter 2

练习2-1

Exercise 2-1

练习2-2

Exercise 2-2

练习2-3

Exercise 2-3

练习2-4

Exercise 2-4

练习2-5

Exercise 2-5

练习2-6

Exercise 2-6

练习2-7

Exercise 2-7

练习2-8

Exercise 2-8

第3章

Chapter 3

练习3-1

Exercise 3-1

A大调、D大调、降B大调、降E大调

A Major, D Major, B-flat Major, E-flat Major

练习3-2

Exercise 3-2

D小调、G小调、E小调、F小调

D minor, G minor, E minor, F minor

练习3-3

Exercise 3-3

练习3-4

Exercise 3-4

练习3-5

Exercise 3-5

练习3-6

Exercise 3-6

第4章

Chapter 4

练习4-1

Exercise 4-1

G 大调、A 大调、F 大调、降 E 大调、E 大调、降 B 大调、降 A 大调、降 D 大调、D 大调、B 大调

G Major, A Major, F Major, E-flat Major, E Major, B-flat Major, A-flat Major, D-flat Major, D Major, B Major

练习4-2

Exercise 4-2

A小调、C小调、E小调、D小调、G小调、降E小调、B小调、升C小调、升F小调、F小调

A minor, C minor, E minor, D minor, G minor, E-flat minor, B minor, C-sharp minor, F-sharp minor, F minor

练习4-3

Exercise 4-3

练习4-4

Exercise 4-4

练习4-5

Exercise 4-5

练习4-6

Exercise 4-6

练习4-7

Exercise 4-7

练习4-8

Exercise 4-8

第5章

Chapter 5

练习5-1

Exercise 5-1

全音符、四分音符、十六分音符、八分音符、二分音符、十六分音符、八分音符、半休止符、四分休止符、十六休止符、八休止符、全休止符

Whole note, quarter note, sixteenth note, eighth note, half note, sixteenth notes, eighth notes, half rest, quarter rest, sixteenth rest, eighth rest, whole rest

练习5-2

Exercise 5-2

练习5-3

Exercise 5-3

练习5-4

Exercise 5-4

练习5-5

Exercise 5-5

练习5-6

Exercise 5-6

练习5-7

Exercise 5-7

练习5-8

Exercise 5-8

第6章

Chapter 6

练习 6-1

Exercise 6-1

练习6-2

Exercise 6-2

练习6-3

Exercise 6-3

练习6-4

Exercise 6-4

练习6-5

Exercise 6-5

练习6-6

Exercise 6-6

练习6-7

Exercise 6-7

第9章

Chapter 9

练习9-1

Exercise 9-1

G大调、E♭大调、D大调、B♭大调、B大调、A♭大调、F大调、D大调、C大调、G♭大调

G Major, E♭ Major, D Major, B♭ Major, B Major, A♭ Major, F Major, D Major, C Major, G♭ Major

练习9-2

Exercise 9-2

D 小调、G 小调、C 小调、A 小调、B 小调、E 小调、D 小调、A 小调、E 小调、B 小调

D minor, G minor, C minor, A♭ minor, B♭ minor, E minor, D♭ minor, A minor, E♭ minor, B minor

练习9-3

Exercise 9-3

练习9-4

Exercise 9-4

练习9-5

Exercise 9-5

Dm7、G7、FM7、B♭M7、CM9、Cm7(或 Cm7/E♭)、Gm7、B11、C♯m7、A♭7

Dm7, G7, FM7, B♭M7, CM9, Cm7 (or Cm7/E♭), Gm7, B11, C♯m7, A♭7

练习9-6

Exercise 9-6

练习9-7

Exercise 9-7

练习9-8

Exercise 9-8

第10章

Chapter 10

练习10-1

Exercise 10-1

练习10-2

Exercise 10-2

练习10-3

Exercise 10-3

练习10-4

Exercise 10-4

练习10-5

Exercise 10-5

练习10-6

Exercise 10-6

第12章

Chapter 12

练习12-5

Exercise 12-5

练习12-6

Exercise 12-6

第14章

Chapter 14

练习14-1

Exercise 14-1

练习14-2

Exercise 14-2

练习14-3

Exercise 14-3

练习14-4

Exercise 14-4

第15章

Chapter 15

练习15-1

Exercise 15-1

一种可能的解决方案如下:

One possible solution is as follows:

第16章

Chapter 16

练习16-1

Exercise 16-1

练习16-2

Exercise 16-2

第17章

Chapter 17

练习17-1

Exercise 17-1

练习17-2

Exercise 17-2

练习17-3

Exercise 17-3

练习17-4

Exercise 17-4

练习17-5

Exercise 17-5

练习17-7

Exercise 17-7

第20章

Chapter 20

练习20-1

Exercise 20-1

练习20-2

Exercise 20-2

练习20-3

Exercise 20-3

练习20-4

Exercise 20-4

奖励第

1

BONUS

CHAPTER


1

演奏你的音乐

Performing Your Music

如果您读完本书的章节,您就已经学到了足够的理论来创作自己的音乐作品,并且您已经将其安排为声乐或器乐合奏。现在是时候冒险进入现实世界并播放音乐了。

If you’ve read through the book chapters, you’ve learned enough theory to compose your own piece of music, and you’ve arranged it for a vocal or instrumental ensemble. Now it’s time to venture out into the real world, and get that music played.

很可怕,不是吗?

Scary, isn’t it?

演奏你的音乐可能会是一种令人伤脑筋的体验。所有部件都能组装在一起吗?你写在正确的范围内吗?您是否正确调换了所有零件?听起来怎么样?

Having your music performed can be a nerve-wracking experience. Will all the parts fit together? Did you write in the proper ranges? Did you transpose all the parts properly? How will it sound?

当然,要听到你的音乐演奏,你必须安排一个团体来表演。如果这是一首简单的歌曲,那么就像将当地的车库乐队聚集在一起快速通读一样简单。如果是声乐安排,您也许可以招募学校或教堂的合唱团来完成这项工作。如果这是一首大型乐队作品,您的高中或大学爵士乐团可能就是您要找的对象。如果您写过交响乐或其他管弦乐作品,那么是时候向社区管弦乐队求助了。

Of course, to hear your music performed, you have to arrange for a group to do the performing. If it’s a simple song, that might be as easy as gathering together your local garage band for a quick read-through. If it’s a vocal arrangement, you might be able to recruit your school or church choir for the job. If it’s a big band piece, your high school or college jazz ensemble probably is the group to ask. And if you’ve written a symphony or other orchestral work, it’s time to call in some favors from your community orchestra.

一旦你把队伍排好队,乐趣就真正开始了——你就可以成为指挥了!

Once you have the group lined up, the fun really starts—and you get to be a conductor!

准备零件

Preparing the Parts

每个音乐家都必须有他或她自己的音乐副本。这并不意味着要抄几十次指挥的乐谱;而是要抄写几遍。它意味着写出单个乐器或声音的特定部分。

Every musician must have his or her own personal copy of the music. That doesn’t mean copying the conductor’s score a few dozen times; it means writing out the specific part for that individual instrument or voice.

您购买或下载的大多数商业音乐都附带您的团体所需的所有单独部分。但是,如果您正在演奏原创作品,则您有责任为每种乐器或声音创建单独的部分,并将它们传递给音乐家。理想情况下,这应该在第一次排练之前发生,这样他们就有机会自己练习自己的部分。

Most commercial music you purchase or download comes with all the individual parts you need for your group. However, if you’re playing an original piece, it’s your responsibility to create the individual parts for each instrument or voice, and to pass them out to the musicians. Ideally this happens well in advance of the first rehearsal, so they’ll have the opportunity to practice their parts on their own.

请记住将各个部分转换为正确的键(大多数记谱程序会自动执行此操作),并在整个过程中包含正确的路标和路线图。这意味着对小节进行编号,在各个部分上标注字母,并在您完成较长的休息部分时提供某种提示。

Remember to transpose the individual parts to the proper keys (most notation programs do this automatically), and to include proper signposts and road mapping throughout. That means numbering the measures, lettering individual sections, and including cues of some sort when you’re coming off an extended section of rests.

排练程序

Rehearsal Routines

你已经安排了音乐,也安排了音乐家。时钟的大指针几乎处于完全位置,是时候进行第一次排练了。你做什么工作?

You’ve arranged the music, and arranged for the musicians. The big hand of the clock is almost in the full-up position, and it’s time for your first rehearsal. What do you do?

当您排练合唱团、乐队或管弦乐队时,您需要在他们开始全力演奏(或唱歌)之前先热身。然后你必须有效且高效地排练这首曲子——你必须让音乐家尽快跟上节奏。(时间就是金钱!)

When you’re rehearsing a chorus, band, or orchestra, you need to warm up the group before they start playing (or singing) full blast. Then you have to effectively and efficiently rehearse the piece—you have to get the musicians up to speed as quickly as possible. (Time is money!)

警告

WARNING

你的排练时间将不可避免地受到限制——而且比你理想的时间要短。提前计划好您的排练程序,以充分利用您的时间。不要在乐曲的开头花太多时间,以至于你永远没有机会排练结尾!

Your rehearsal time will inevitably be limited—and less than what you’d ideally like to have. Plan out your rehearsal routine in advance to take best advantage of the time you have. Don’t spend so much time on the beginning of the piece that you never get a chance to rehearse the end!

当您与任何类型的大型合奏团一起工作时,可以使用以下建议的例程:

Here’s a suggested routine you can use when you’re working with a large ensemble of any type:

1.设置。如果您与专业人士打交道,他们会知道在指定时间做好准备并准备好比赛。如果您正在与年轻或业余玩家打交道,您需要给他们时间适应并准备比赛。

1. Setup. If you’re dealing with professionals, they’ll know to be set up and ready to play at the appointed time. If you’re dealing with younger or amateur players, you need to allow them time to get settled in and ready to play.

2.调整。你需要花几分钟的时间来让乐器组协调一致。

2. Tuneup. You need to take a few minutes to get an instrumental group in tune with itself.

3.热身。对于非职业演奏家(包括歌手和乐器演奏家)来说,在处理困难的事情之前在音乐上“放松”尤其重要。拥有他们可以说,弹奏或唱一些音阶,或者弹奏一段简单而熟悉的音乐,可以帮助他们伸展音乐肌肉。

3. Warmup. It’s especially important for nonprofessional players—both vocalists and instrumentalists—to “limber up,” musically before they tackle the hard stuff. Have them play or sing some scales, or run through a simple and familiar piece of music, to help them stretch their musical muscles, so to speak.

4.通关。一旦每个人都准备好、调音、热身并准备好,您就可以开始排练音乐了。您可能想从头到尾演奏这首曲子开始,让每个人都能感受到这首曲子。然后你可以回去排练特定的部分,重点关注音乐中特别棘手的部分,或者在第一次演奏时似乎给音乐家带来问题的部分。请记住以整个作品的最后播放来结束排练。

4. Play-through. Once everyone is set up, tuned up, warmed up, and ready to go, you can start rehearsing your music. You might want to start by playing the piece all the way through, to give everyone a feel for the piece. Then you can go back and rehearse specific sections, focusing on those parts of the music that are particularly tricky, or that seemed to give the musicians problems on the first play-through. Remember to end the rehearsal with a final play-through of the entire piece.

如何做人

How to Conduct Yourself

如果您创作或编排了一首音乐,那么在演奏该音乐时,您可能需要领导乐队、管弦乐队或合唱团。这意味着您需要了解一些有关指挥的知识 - 至少足以让每个人同时开始和停止!

If you’ve composed or arranged a piece of music, you’ll probably be expected to lead the band or orchestra or choir when it’s time for that music to be played. That means you need to know a little bit about conducting—at least enough to get everybody started and stopped at the same time!

提示

TIP

大多数器乐乐团的指挥都使用指挥棒(短木棍或塑料棍)。许多合唱团指挥避开指挥棒,徒手指挥。然而,对此并没有硬性规定。

Most conductors for instrumental ensembles use a baton (a short wooden or plastic stick). Many choir conductors eschew the baton and use their bare hands. There are no hard-and-fast rules about this, however.

从最基本的意义上来说,指挥就是设定正确的节奏,计算音乐家的数量,并引导整个音乐中节奏或动态的任何重要变化。专业指挥家还塑造音乐的流动,可以将普通的管弦乐或合唱表演变成个人陈述和动人的艺术作品。

At its most basic, conducting is about setting the correct tempo, counting in the musicians, and leading the way through any important changes in tempo or dynamics throughout the music. Professional conductors also shape the flow of the music, and can turn a generic orchestral or choral performance into a personal statement and a moving work of art.

然而,当你刚开始时,你会忙于寻找悲观的事物。幸运的是,即使你像破碎的荷兰风车一样忙着挥舞手臂,更好的音乐家也能挺过去。

However, when you’re first starting out you’ll have your hands full just finding the downbeat. Fortunately, better musicians can soldier through, even if you’re busy waving your arms around like a broken Dutch windmill.

事实是,指挥非常简单。您需要学习一些固定的模式,然后一切都会就位。

The thing is, conducting is pretty simple. There are a few set patterns you need to learn, then it all falls into place.

一般行为原则

General Conducting Principles

指挥时,您用右手指挥节拍,用左手强调或指出特定部分。您也可以将左手放入口袋或背后,或用它来模仿右手的动作。

When conducting, you use your right hand to conduct the beat and your left hand to add emphasis or point out specific parts. You also can just stick your left hand in your pocket or behind your back, or use it to mirror your right-hand movement.

你的右手所做的就是在空中画出节拍模式。这有点像演奏空气吉他或空气鼓,只不过你要强调节拍的位置。节拍模式中的每个下拍代表小节中的一个强拍或大拍。

What your right hand does is draw a beat pattern in the air. It’s kind of like playing air guitar or air drums, except you’re stressing where the beats fall. Each downstroke in the beat pattern represents a downbeat or major beat in the measure.

所有节拍模式都基于一组共同原则。这些原则定义了接力棒在图案内的运动,如下所示:

All beat patterns are based on a set of common principles. These principles define the movement of the baton within the pattern, as follows:

  • 该小节的第一拍总是最强的,因此具有最强烈的弱拍。
  • The first beat of the measure is always the strongest and, thus, has the most emphatic downbeat.
  • 构建节拍模式时,应将右手(接力棒)与左手碰撞的危险降到最低。
  • The beat pattern should be constructed so there’s minimal danger of your right (baton) hand colliding with your left.
  • 在复合节拍中,次要节拍的特点是几乎与主要节拍一样强的强拍。
  • In compound meters, the secondary beat is marked by a downbeat almost as strong as that of the primary beat.
  • 接力棒应始终保持运动状态;它不应该在标记节拍的点处停止。
  • The baton should always remain in motion; it should not come to a standstill at the points marking the beats.
  • 接力棒不应从任何一个点直线移动到另一个点,除非直线向下移动到小节中的第一个强拍。
  • The baton should not move in a straight line from any one point to another, except in the case of the straight downward movement to the first downbeat in a measure.

四人指挥

Conducting in Four

大多数音乐都是用 4/4 拍子写成的,所以学习四拍子的指挥模式非常重要。对于四拍模式,您的手必须移动到四个不同的位置。你不必做出很大的动作,但你的手必须移动得足以让音乐家知道你到底在做什么。尝试将手臂从肘部移至胸部正前方。

Most music is written in 4/4 time, so it’s very important to learn the pattern for conducting in four. For the four-beat pattern, your hand has to move to four different positions. You don’t have to use huge movements, but your hand has to move enough for the musicians to tell what the heck you’re doing. Try moving your arm from the elbow, directly in front of your chest.

该模式描述了四种不同的强拍,最后的强拍分配给四个之后的“和”。模式是这样的:下、左、最右、稍左。(也就是说,最后一个节拍稍微位于第三节拍的左侧,但仍然位于第一节拍的右侧。)

This pattern describes four distinct downbeats, with the final upbeat assigned to the “and” after four. The pattern goes like this: down, left, far right, slightly left. (That is, the final beat is slightly to the left of beat three—but still to the right of beat one.)

通过这种模式,所有四个节拍都放置在水平面上的不同点。至少从理论上讲,第三拍具有次要强调,这意味着它比第二拍和第四拍更强(当然不如第一拍强)。

With this pattern, all four beats are placed at separate points on the horizontal plane. Theoretically, at least, the third beat has secondary emphasis, meaning it’s stronger than beats two and four (but not as strong as beat one, of course).

你从准备姿势开始,在歌曲第一小节之前的欢快节奏上。这个位置让你为下一个小节之一的强烈悲观做好准备。在此位置中,您的手臂位于该位置的正上方,即划水的最高点。

You start with the preparatory position, on the upbeat before the first measure of the song. This position prepares you for the strong downbeat on beat one of the next measure. In this position, your arm is positioned directly above the one position, at the highest point of the stroke.

四人指挥。

Conducting in four.

现在,您将手臂放下,一直到最底部的位置,正好在第一节拍上。这是位置1,从前一个强拍到大拍一个强拍的动作是指挥中最重要的动作。音乐家必须得到一个坚实的“一”,这就是你的悲观音乐的用武之地。

Now you bring your arm down, all the way to the bottom-most position, exactly on beat one. This is position 1, and the movement from the previous upbeat to the big beat one downbeat is the most important movement in your conducting. The musicians have to get a solid “one,” and that’s where your downbeat comes in.

对于小节中的第二拍,将手臂稍微向左向上移动到位置 2。对于第三拍,将手臂一直移动到最右侧,到达位置 3。对于第四拍,稍微移动手臂到位置 3 的左侧,到位置 4。在四之后的“和”处,将手臂弹回位置 1 上方,准备重新开始下一个小节。只要确保每个节拍都有自己独特的弹跳即可;你确实需要“击中”每个强拍,以便音乐家知道节拍在哪里。

For the second beat in the measure, move your arm up slightly the left, to position 2. For the third beat, move your arm all the way across to the far right, to position 3. For the fourth beat, move your arm slightly to the left of position 3, to position 4. On the “and” after four, snap your arm back up above position 1 and get ready to start all over again for the next measure. Just make sure each beat has its own distinct bounce; you really need to “hit” each downbeat so the musicians know where the beat is.

练习这个动作:(上)-下-左-右-左——以不同的节奏一遍又一遍地练习。一旦你掌握了这个,你就可以指挥了!

Practice this movement: (up)-down-left-right-left—again and again, at different tempos. Once you get this mastered, you’re conducting!

二人指挥

Conducting in Two

2/4 和 2/2 拍最常见的节拍模式是在同一平面上绘制大拍一和小拍二。第一拍后有一个小的强拍或反弹,第二拍后的“和”有一个大的上冲声;这是为第一节悲观情绪做准备。

The most common beat pattern for 2/4 and 2/2 time draws a big beat one and a small beat two, on the same plane. There’s a small upbeat or rebound after beat one and a large upstroke on the “and” after beat two; this serves as preparation for the beat one downbeat.

在纸面上,这看起来有点像“H”模式,但实际上,两个强拍在垂直平面上的位置相同。该模式如下所示:

On paper, this looks a little like a “H” pattern, but in reality, the two downbeats are positioned identically on the vertical plane. Here’s what the pattern looks like:

分二进行。

Conducting in two.

这种模式在所有速度下都适用,但特别适合中速和快速速度。

This pattern works fine at all tempos, but it’s particularly suited for moderate and fast tempos.

三人指挥

Conducting in Three

三人指挥有点像四人模式,但没有该模式的左侧,即 2 个位置。在动作方面,你从准备性的乐观开始(当然),然后向下一,向右二,稍微向左三。在三点之后的“and”处,您将手快速举到 1 位置上方,然后将其放回原位,以进行下一小节的第一个强拍。

Conducting in three is kind of like the four pattern, but without that pattern’s left, or 2 position. In terms of movement, you start with the preparatory upbeat (of course), then go down for one, to the right for two, and slightly to the left for three. On the “and” after three, you snap your hand up above the 1 position, then bring it back down for the first downbeat of the next measure.

指挥为三人。

Conducting in three.

笔记

NOTE

在我的姊妹书《指挥音乐完全白痴指南》(Alpha Books,2012 年)中了解有关指挥的更多信息。

Learn more about conducting in my companion book, The Complete Idiot’s Guide to Conducting Music (Alpha Books, 2012).

寻找节拍

Finding the Beat

正如我之前所说,指挥的主要职责之一就是设定节奏。您可以通过两种方式执行此操作:

As I said earlier, one of the chief duties of the conductor is to set the tempo. There are two ways you can do this:

把握好准备的时机。这种方法受到专业人士的青睐,可以让您直接进入音乐之中。你不需要提前计算任何事情,只要开始挥动你的手臂以进行准备性的乐观。强拍和最初的强拍之间的时间是半拍的持续时间,并且很快就设定了节奏。(当然,这种方法的缺点是很难掌握,因此不建议初学者使用。)

Timing the preparatory upbeat. This approach, preferred by professionals, gets you right into the music. You don’t count anything out in advance, just start by swinging your arm up for the preparatory upbeat. The time between the upbeat and the initial downbeat is the duration of half a beat, and very quickly sets the tempo. (Of course, the drawback to this approach is that it’s very difficult to master—and, for that reason, isn’t recommended for beginners.)

数着节拍。这种方法不会给歌曲的节奏留下任何歧义。您只需按节奏数出节拍,如下所示:“一,二,三,四”或“一,二,准备,开始”。你数出一个(或更多)小节,这有助于将乐队也算进去——每个人都以相同的节奏以相同的节拍开始。

Counting the beat. This approach leaves no ambiguity over the tempo of the song. You simply count out the beat, in tempo, like this: “One, two, three, four,” or “One, two, ready, go.” You count out one measure (or more), which serves to count the band in—and everybody starts on the same beat at the same tempo.

您可以使用您喜欢的任何方法,尽管当您第一次学习一首曲子时,最好在开始之前倒数。这样你就可以在脑海中设定节奏,其他音乐家就不会猜测那个人在哪里。

You can use whichever method you prefer, although when you’re first learning a piece, it’s probably better to count off before you start. This way you can set the tempo in your head, and the other musicians won’t be guessing about where the one is.

笔记

NOTE

用预备节拍设定节奏是古典音乐世界的常态。在流行音乐和爵士乐世界中,数节奏更为常见。

Setting the tempo with the preparatory beat is the norm in the world of classical music. In the pop and jazz worlds, it’s more common to count off the tempo.

在现实世界中练习

Practicing in the Real World

练习指挥的最佳方法是在您自己的家中对您最喜欢的歌曲和音乐片段进行一些指挥。您应该练习各种不同的录音,以习惯不同类型音乐中使用的不同节拍模式。

The best way to practice conducting is to do a little conducting in the privacy of your own home—to your favorite songs and pieces of music. You should practice to a variety of different recordings, to get used to the different beat patterns used in different types of music.

但在你出去面对世界进行第一次诚实的指挥课程之前,你需要与其他人一起练习。召集几个朋友,练习您将要指挥的乐曲——即使只是其中的几个部分。通读一遍这首曲子,并鼓励你的朋友告诉你可以做些什么来提高你的指挥能力。

But before you go out and face the world for your first honest-to-goodness conducting session, you need to practice with other people. Gather a few of your friends, and practice with the piece you’ll be conducting—even if it’s just a few of the parts. Run through the piece a few times, and encourage your friends to tell you what you could do to improve your conducting.

在一群音乐家面前的第一次悲观可能会令人畏惧。让你的朋友帮助你克服害羞或恐惧,这样当你真正拿起接力棒时,你就会显得自信。(记住——音乐家就像野狗一样,能闻到恐惧的味道。)

That first downbeat in front of a group of musicians can be daunting. Use your friends to help you get over any shyness or fear, so that you appear confident when you pick up the baton for real. (Remember—musicians, like wild dogs, can smell fear.)

锻炼

Exercise

提示您最喜欢的音乐,拿起指挥棒,开始指挥!

Cue up your favorite piece of music, pick up a baton, and start conducting!

奖励第

2

BONUS

CHAPTER


2

和弦图

Chord Charts

这就是:您想了解的有关创建和弦的所有信息,但不知道在哪里询问(或类似的问题......)。无论如何,接下来的几页将针对音阶的每个音阶,提供以下类型和弦的音符和吉他指法:大调和弦、小和弦、减和弦、增和弦、大七度、小七度、属七度、大九度、小和弦第九,并且是主导第九。当您想写和弦但不知道如何写时请转到这里!

Here it is: everything you’ve ever wanted to know about creating chords, but didn’t know where to ask (or something like that …). In any case, the next few pages present, for each degree of the scale, the notes and guitar tabs for the following types of chords: major, minor, diminished, augmented, major seventh, minor seventh, dominant seventh, major ninth, minor ninth, and dominant ninth. Turn here when you want to write a chord but don’t know how!

指挥为三人。

Conducting in three.

笔记

NOTE

变音记号不会一个和弦延续到另一个和弦。

Accidentals do not carry over from chord to chord.

奖励第

3

BONUS

CHAPTER


3

仪器范围

Instrument Ranges

当你为特定的乐器作曲和编曲时,你需要知道每种乐器的音域,这样你就不会写出无法演奏的音符。使用下面的图表来确定每种乐器的音域和书写范围。

When you are composing and arranging for specific instruments, you need to know the range of each instrument, so you don’t write notes that are unplayable. Use the following charts to determine each instrument’s range as it sounds and as it is written.

弦乐器(弓)

String Instruments (Bowed)

笔记

NOTE

在乐谱中,8va表示音符弹奏比所写音符高一个八度,8vb表示音符比所写音符低一个八度。如果您看到16va,则意味着要演奏比所写音符高两个八度的音符。

In music notation, 8va indicates the note is played an octave above what is written, and 8vb means the note is played an octave below what is written. If you see a 16va, that means to play the note two octaves above what is written.

弦乐器(弹拨或扫弦)

String Instruments (Plucked or Strummed)

铜管乐器

Brass Instruments

木管乐器

Woodwind Instruments

键盘乐器

Keyboard Instruments

音调打击乐器

Pitched Percussion Instruments

关于作者

About the Author

迈克尔·米勒从十几岁起就开始作曲和编曲。他就读于世界著名的印第安纳大学音乐学院(现为雅各布斯音乐学院),并被印第安纳大学著名的爵士乐研究项目录取。1981 年,米勒先生创立了印第安纳波利斯歌曲作者工作室(后来称为印第安纳波利斯歌曲作者协会),并为首届印第安纳州中部麦当劳叔叔之家电视马拉松创作了主题曲。

Michael Miller has been composing and arranging music since his early teens. He attended the world-renowned Indiana University School of Music (now the Jacobs School of Music), and was accepted into IU’s prestigious Jazz Studies Program. In 1981, Mr. Miller founded the Indianapolis Songwriter’s Workshop (later known as the Indianapolis Songwriters Association), and composed the theme song for the inaugural central Indiana Ronald McDonald House telethon.

在短暂(而不是那么短暂)涉足零售和企业业务领域后,米勒先生现在是一位受人尊敬且多产的作家。过去 20 年来,他写了 150 多本书,涉及从音乐到技术到商业等各种主题。他以其随意、易读的写作风格以及向日常读者解释各种复杂主题的能力而闻名。他的书在全球的总销量已超过一百万册。

After brief (and not so brief) forays into the worlds of retail and corporate business, Mr. Miller is now a respected and prolific writer. He has written more than 150 books over the past two decades on a variety of topics from music to technology to business. He is known for his casual, easy-to-read writing style and his ability to explain a wide variety of complex topics to an everyday audience. Collectively, his books have sold more than a million copies worldwide.

米勒先生也是一位出色的鼓手、作曲家和编曲家。他将自己的音乐知识与写作才能结合起来,创作了《阿尔法白痴指南》系列畅销音乐指导书籍。他最畅销的音乐书籍包括《白痴音乐指挥指南》、《音乐商业白痴指南》、《音乐作曲全白痴指南》、《音乐史全白痴指南》、《打鼓全白痴指南》和《音乐史全白痴指南。完成《白痴歌唱指南》(与菲利斯·富尔福德合作)。有关迈克尔·米勒及其作品的更多信息,请访问millerwriter.com。他的 Twitter 账号是@molehillgroup。

Mr. Miller is also an accomplished drummer, composer, and arranger. He has combined his knowledge of music with his writing talents to produce a series of best-selling music instruction books in Alpha’s Idiot’s Guide series. His best-selling music books include The Complete Idiot’s Guide to Conducting Music, The Complete Idiot’s Guide to the Music Business, The Complete Idiot’s Guide to Music Composition, The Complete Idiot’s Guide to Music History, The Complete Idiot’s Guide to Playing Drums, and The Complete Idiot’s Guide to Singing (with Phyllis Fulford). More information about Michael Miller and his work can be found online at millerwriter.com. His Twitter handle is @molehillgroup.